r 
«AA 
LIBRARY 


NO. M. Knoedler & Co. 
TSE) 14 Bast Sith Se. 
Rey ae New York 


ACC. 


mn KING COLLECTION. | 
a any English and French 
Masters. | 


ie ee by Mr. David H. King, jr., 
‘exhibition at the American Art Galleries. 


mdeissohn Hall on «the evening of Friday, 
h 81, and of antique furniture, Oriental rugs, 
Stohings, engravings and watercolors, which will 
= disposed of on thea afternoon of the same day at 


0 objects in the collection we may dismiss 
the remark that -the old. furniture teludes, 
“some beautiful pieces and that a few of the prints: 
Pre Worthy of notice. The paintings, on the other 
require more specific description. They are 
ly portraits, canvases of the decorative char- 
“r which has of late been so popular among the 
lthy owners of stately dwellings In city and 
i ry. A good deal. of this sort of thing has 
strayed into the auction room. within the last ten 
years, but not often has a collection so good as Mr. 
King’s been brought.to the hammer. 
, #t has its unedifying spots. Of the two Mignards 
| Only one, the “Catherine Mignard,” is ‘worthy of 
‘that imposing seventeenth century courtier. The 
big Wargilliere, “The Marquise ce Lafayette,’’ is 
|Randsome enough in its way, bat it is not half so 
)§000 as the far less “important” “Duc de Pen- 
{Uhievre’’ or the ‘Madame d’Henin.’”’ Among the 
‘three Lelys, too, there is only one, the ‘‘Mr. Lenevs, 
“Alderman of Norwich,”. which is. a first rate ex- 
@mpie of ths painter. But the great strength of 
‘this: collection resides in the fact that there is 
(“Rothing in it actually bad, and that the majority of 
/ the portraits it contains are of an unusual degree of 
| lence. One does not need to rank the “Sir 
Patrick Blake’ with: Sir Joshua’s masterpieces in: 
order to find it interesting.. It is, after all, one of 
his characteristic things—a pot boiler, perhaps, but 
Only such a pot boiler as he could have painted. 
( The two other portraits from his brush,  ‘‘Lady 


| fefah Banbury” and ‘‘Mrs. ‘Hales,’’ likew!se give a. 


fair if mot precisely. triumphart account of them- 


selves. Romney's ‘‘Mrs. Clarke” leaves us cold, and | 


i: $0 does his “Thomas Thornhill.” So, again, does 
his “Lady Hamilton as Bacchante,” but we. find 
pleasure in the pure grays of his ‘“‘Miss Lockwood.”’ 


| Out of the. four Raeburns we would choose “The, 


| Duke of Portland’ and the ‘Portrait of a Gentle- 
“man.” The latter, a small study of a head, is a 


masterly piece of modelling, and it has all of Rae- 


i i ote Hmpidity in the tones. 


Single specimen of Beechey, unremarkable but. 


| good, is in the collection, and Hoppner comes off 


| Gainsboroughs revive the witchery we associate 
“with: that shining name. There is an equal num- 
eer: of portraits by Lawrence, and of these only 
“the “Duchess of Buckingham” and the ‘Master 
“Kenwood © Shaw’’ seém to us’ of any moment. 
“Asnong: the Frenchmen, in. addition to those al- 


@ latter’s “Marquise de Breteuil’’is a capital 
isco ‘of French art, graceful, ‘elegant and irre- 
‘sistible In its refined artifice. The Nattlers are 
“not any of them as resplendent as we have known 
‘products of his brush to be, but all three of them 
are lovely, polished things. Mr. King has three 


seventy paintings, which will be sold’ 


he ) place where they may now be seen. The miscel- 


-wWell in his “Lady St. Asaph’’; his ‘‘Portrait of a, 
.Gentleman” is uninteresting. None of the five. 


a ay noted, we must, cite Nattier and Drouals.« 


a 


portraits by by Vigee Le Brin, and two of them’ the 


“Marquise de Saffray’’ and the “Mme. Vestris,” 
are entirely charming. The first of these is, ins 


deed; a perfect illustration of the accomplished 


lady’s fashionable art. We have nothing to say 
in admiration of the “Portrait of a Lady” giver 
to Watteau, but we would take leave of this col} 
lection in a friendlier strain, not only for the sake 
of the fine portraits at which we have glanced, but 
for the sake of a further handful cf good old pict: 
ures by Pourbos, John Russell and John Crome, 
and, the group of modern paintings, in which there 


are some fine things by Corot, Fromentin, Ribot) 
| Monticelli, Harpignies. and other noted Muropeans.) 


THE KING COLLECTION SOLD. 


SEVENTY PAINTINGS BRING MORE 
| THAN $200,000. 


Tae 


‘Top Price $18,009, rok Aattier's “Comtesse 
-  p’Argenson”—Miauve Sells for Gnly 
$G,300—Prices as a Ruie Low—Rae- 
burn’s ‘‘Miss Macarincy” for $10,560 


The collection of early English and French 
portraits and Barbizon and Dutch rict 1res, 
belonging to David H. King, Jr., were sold 
at auction last night by Thomas E. Kirby 
of the American Art Galleries. The sale 
took place at Mendelssohn Hall. The total 
for the seventy paintings in the collection 
was $201,035, which i is said to be considerably 
short of the amount which it was estimated 
they would bring. 

As a rule the prices were not high. Jean 
Marc Nattier’s portrait of the Comtesse 
D'Argenson, depicting the lady seated with 
a dog in her lap, brought the top price of 
the sale. It was started at $5,000 and ad- 
vanced quickly to $10,000. From that 
‘point the bidding was between two dealers 
until J. D. Ichenhauser got it at $18,CC0. 
Mr. King is reported to have paid $62,000 
for the painting. 

Sir Henry Raeburn’s portrait of Miss 
‘Macartney brought $10,5C0 and his portrait 
of Master James Haig $9,000. One of the 
‘surprises of the cale was the low price paid 
‘for a Mauve entitled “Holland Meadows,” 
which was No. 58 on the catalogue. Every 
one expected the painting would bring 
$10,000, if not more. Bidding on it started 
at -$5,000 and quickly ended when $6,500 
had been reached, at which price it was 
‘knocked down to W. G. Phillips. 

The following is a list of the pictures 
sold, the prices and the names oi the buyers 
where obtainable. 

1. “Le Paysan,” se atl Théodule Ribot; 


Poi As Ghapman 100 62.0 oh sab aot cae ei $700 
2. “Portrait of Mr. Romilly,” Str Thomas 

Lawrence, P..R. Ate Jules Ochme.....: $60 
Bg. “At Cairo,” Eugéae Fromentin; H. Mf. i 

SEENON SON hs alba eer ee een aes womens ae 950 
4, “Portrait of Catherine Mignard,” Pierre 

Mignard; H. B. vote Ce is oie ates @ altel ea 2,500 
5. “Moorish Horsemen,” Eugene Fromen- 

tin; Emerson MeMill AD ase ate es 1,500 
6. “Moonlight on the Yare, Norwich,” John 


Crome (called “Old OR 2 Sule id's 
Raslendofear . ; APR 


a 


HBacohaate,” John Opie, R.A. Payn 

~ Whitney 

“Portralt of @ Lady,” Antoine Watteau: 

H.W, Payne: .02: 

ey of Nugent the “Painter,” . Jqnn 
2,R.A.:New York Coop¢rative oon 

Dee James Haig,” Sir Henry 


Base ; 


San Duin, vA Be Be kOlINS noc: sey fay , 900 | 
“The Duke of Reichstadt,” Sir Thomas | 
Lawrence, P.R.A.; Payne Whitney... 3,500 | 
. “Portrait of Miss ‘Seoit,” Sit Thomas 
TIAWTENCE, eecbt (Als aiiaiatts siicihs Gilbin Deon alee ; 
“Master. eecod Shaw,” Sir Thomas 
Lawrence, PRA, Be POMer yo 1,475 | 
.“Pne Princess de Condé, “ Frans Porbus; ca 
Pe ere Mary ear it Rare tarts CaN kNaliem lala gs $50) 
. ‘Lady Chariotie de Montmorency, x 
Phii'ppe de Cham patne sara es hoi. 7390 
20. “Queen Charlotte,” Thomas Gains- 
~ borough, R. A.; Eugene Fischoff...... 2,150) 
. “Sir. Francis P. Bourgeois, RECA Sir 
William Beechey, R. A.; H. W. Page. ay 100, 
22, “Dr. Richard Vagteie una tains - 
borough, R.A.) Mrs. H. W. Sibley..... 1,850 
. “Portrait of a Gone John Hop- | 
pner, R. A.: Mrs. &. Pope Sampson.. 550 | 
#4. “Madame D’ éain,” Nicolas de Largll- j 
Soktdre: James: DW. Cutiine.5 252 7020. 2,000 
. “Portrait of Mrs. Clarke,” George Rom- | 
TREY ESA eae ey al VON 1,400 | 
26. “Madame Scarron,” Pierre Mignard 
Psire Witham Vian Orme oui eis 9C0 | 
. “Madame Elizabeth de France, sister of 
Louis XVI.," Mme. L. E. Vigée Le Brun; 
Files GRAIG So ee Pn 2,725 | 
28, “The Marquise de Breteuil,” Germai | 
' Jean Drouais: Emerson McMillin, eaiee kes 1,700 | 
29. “Queen Marie. Lescinska,” Charles | 
» André Vauloo. ees aay 0 650. | 
80. “Lady Sarah Bunbury,” Sir Joshua | 
 Reynolds.P.R.A.:Sir William Van Horne . 2,100 __ | 
' 81. “Madame de Noailies.” Nicolzs De Lar- 
;\. gilliére; George Arents, 8 (yaork Pa oii SOLO w ZOO | 
- 82,*A Normandy. Pasture,” Mme. Marie 
Dieterle; Jules Oehme oi. eee. 2,750 
Neh Baa) Garden Party,” Adolph Montecelli; —~ 1,250) 
BA. “Thomas Thorahill, Esq.,”. George 
! “Romney, R. A.; Emerson McMillan... ., > 1,000) 
85. “Portrait of a Young Gentleman,” John 
Russell, BR. A.; Max E. Bernhelmer.. 875) 
' 86. “Mme- Vestris,’ »"Mme. L.. E. Vigée ‘Le | 
MRP RDN foreman Gone saci t, wie ahiay areal wee’ Ahora Wate wees 1,850 | 
87. “Lady Samwell,” Cornelis Janssen; R. 
att Mall MeCormick : cf 590 | 
88. “Princesse De Polignac,” Anicine Vestienl; 
WPOBE DA NRUNEZET oii voce reiues cue es 1,900 | 
89. “Portrait “ i; Gentleman, hells Henry | 
Raeburn, R sJ oseph Pullttzer........ 400 | 
“Mme. De ecient vean Mare Noittier: 
OST eH ISOIIE (5's betsy sob ale Halt seca ue +€0) | 
‘ Sienna Henry “Harpignies: Jules 
MP OTBO Mee ocak igiate Aeon te mish AE ae 1,650. | 
42, “Lady St, Asaph,” John Hoppner, R.A... 2,500 | 
. “Character. Sketch of Mrs.  Siddons,” 
Thomas Gainsborough, R. A.: Charles 
SP RIOMARGLOT cues c oe Cy ke We ace ie aa 1,000 
44, eer Jules’ Dupré; Eugene Glenzer 
OED Seer reins aeabricys wieneian haan Ieee: 7,400 
45. Le verrait of a Lady,” Thomas Gains- 
MOEOU CI RA Ae aaa Wate ereon elias 500 | 
46. Landscape, eipha Francois Daubigny; 
WG PAMipg sy oo ON k oA Tua oe 8,800 
47. “Portrait of a Young Girl,” Mile. Jeanne 
Philiberte Ledoux; New York Cooper- 
MATA VIOT ASOGLO LM Goes 6 pe esis eel anpet me auee 900 
48, “Near Ville d’Avray,” J. B.C. Corot: 
Aa LOOT Me SON 2 su ee ag 5,225 
49. “Sunset on the River,” Henri Harpig- 
nies: Scott & Fowler) ooo ya ,150 
50, “The Heart of the Forest,” N. V. Diaz: 
RIVERO TE. Ui CDR Ua anit curSt ar an 2,050 | 
51. “The Due ce Penthiévre,” Nicolas de 
Pane Verer DIRE in ey nw ahh ite let 2,000 | 
§2. “Lady Hamilton as Becchante,’ "George 


Romney, R. A.: Pi Sf ial 3 en 8,500 


63. “Henriette de Boeebon Gant Duchesse | 
d’Orleans,” Jean Marc Nattier: ©. I. 
Pk Pe PASE Cis RGA da A Sa a 4,000 | 

64. “Portr. it of a LS tahe w wiewad * Thomas 

 Gainsboruugh, R. A. 1,600 

85. “Mr. Leneve,: Alderman of Norwich,” 

4 Shr POter: Lely yee eg 4200 

56. “Portrait of Miss Lockwood,” George 
Romney, R, « Pt epee neces 

67. “The Duchess of Rutland,” Sir Godfrey 
Kineller: James D’W. Cutting......... 8,050 

58. ‘Hollana Meadows,” Anton Mauve: | 

PRIUDS Sued. weiss Mane ere natn: a 500 | 


“the Santee of Halifax,” Sir Godfrey 
Kneller: Jesse Straus . 


“was knocked down to Ansan RL 


($300. Of the ten rugs sold the to 


they brought a total of $201,085. 


Wiese ae Mie wes ale see 


ACat Oe Coe ae 8 6 ee wee ew 


“she rick Blake B Betis. ay 
mold. Be a” Sn Seni Ai 
The antique furniture, rugs, e 
water colors and other objects. co 
in the collection were sold at the A 
Art Galleries. yesterday aftern 
‘realized a total of $17, 879. The 
‘furniture brought good prices on the 
_AVen tian table with carved ornamer 


for $200. Two old En 
brought $380 and $400. ieee tab 
pe se ae was paid be si 
uis armchairs, which went 
Mr. Fields for’ $570. vent 


A Queen Anne secretary bbolecuae broug! at 


was paid for a grand agra ca 
which was «PRB B ay by Miss ome $490. 


D. H. KING COLLECTION’ 
1S SOLD FOR $218,914 


Portrait of Comtesse D’Argenson 
by Nottie Brings $18,000, 


SIR WicVAN HORNE A BUYER 


nett 


Gets Big Part of the Antiques—Several 
Paintings Go to Harry Payne. 
Whitney. ele 


Pe. 
J 


dj * 
Risa See RI PS te Oat OTR 


Mendelssohn Hall was filled ha even- 
ing at the sale of the fine collection of 
pictures belonging to David H. King, Jr. 
There were only seventy canvases, Lut! 
This 
with the afternoon sale of antique fur- 
niture, rugs, etchings, &c., ran the rote) 
up, to), $218, 014, 

The highest price of the evening was 
$18,000, which was paid by J. D. Ichen- 
hauser for a portrait of the: Comtesse 
d'Argenson by Nattier. One of the most 
exciling. sales of the evening was that 
of the Raeburn portrait of Master James 
Haig, which went to H. B. POlne for 
$9,000, ene | 

The prices. ‘of’ the alone with. their 
purchasers as far as siven,, follow: a 


nye ahi ie he ae 


Sir. Joshua’ Réey- — 
lia Van Horne 2, 100. 
J puareliiens: 
seeps aio aet Be 
Marie. ‘Die- i 
8 ob Low 2.750. 
olphe onticelli; i. 4 
a Raa: eet ies 1,250: 
‘George Romney; - 


Val oo By Se! be 90.594 29.8, 20 


ntleman—John 


a tad 6 Aviad ae Mae 


Vigge Le 
esti: ¢ 1) ange 


Sraikigee breik abe ene : 1,900. 
Bir meni Bates 


- Weppner! HO oy 
eae ee 2.500. 
Siddons—- | | 
da sade beam : 


bedi 7,400, 
ainsbor- \ 
Beak Tee see BRNO 


. eoeeawvreeeeee 8,800. 
i AAT APS Jeanne a 
“New York Co-oper- 
Ag. B. coo jorot; A. 

1/6 SER . a 6,225) 
Henri ‘Har genes; 

“nc tt oN | 1.150 


eae S ats 


900, 
| 
a 


Ticola de Hae 
Sean) ee eae 2.000 
~ Bacchante—George ; 
Ww. PAayneiy vs s5es 2% 8.500) 


ye eT Aa RE alll 


13a eu i, Rey ES Aig si Cae i) 7.900 
Ee FAD nd—Sir Godfrey 
" c Sra “Cutting... ... 3,05: 
rollan .M aa vs—Anton Mauve; W. G. la 
De os aN see eee eae 6. 
he Fone ess laa ‘Halifax Bi Godfrey — 
neller; barge ERP OURS oad tate Lane S| 900 
‘The Duchess shuskingham—Sir. ‘Thomas 
igen ote dae pee. en ci ai 6.400 
ukes 0: umber a ria—Sir 
i Peter Hon Sane ee : 700. 
‘The oer. @ Argenson—Jean Mare_ 
Nattier; J. D. Ichenhauser........ "18,000 
Portrait ‘of Miss Macartney—Sir Henry. 
— Raeburn; Mr. Hitchcock. ..... +e... .. 6 .10,500 
Mrs. Hales, nee Chaloner—Sir Joshua 
is ynolds: Bugene Fischhof..........5. 8.750 
‘The Countess of Carlisle—Sir ‘Peter Plas 
- Max E. Bernheimer...... treaty 1.200 
‘The Duke of: Portland—Sir Heriry.” Rae- 
burn; suas OGMINE S SVG . aaeta 2.500 
\Henrietta, Weer of Orleans; ‘Adrian 
Hanneman; H. Stanley .... 700 
The Marquise de Latavette—Nicolas ‘de 
_largilliere;’ George ... hed REO Dy 
‘The Marquis de: ‘Saffray—Mme. Des EB. si 
PEt RNR SEM doh i650 64 foul banter aloe 5,700 
‘gir Patrick aud 4 Bart.—Sir | Joshua 
on Bree eer a eer Ma dics Gah ha 9p, mike at heim sane a reagan ae 1.050 


Sir William Nia Horne, the Canadian 
‘art collector, was one of the largest buy- 
ers at the afternoon sale. A pair of Ital-+ 
jan Renaissance columns went to him for 


$340, a pair of Corinthian pilasters for 
$140, a pair of urns, Italian antiques, fer 
‘£90; a couple of marqueterie chairs. for 
ay and for a Louis XVI. arm chair, 

200. ak 


K 


a . , F oS 


Phillips, 


Mendelssohn Hall 1 Cowde as Nev 3 


_ Before rai Connoisse Urs, ‘Collec- 2 
a ea and, Buyers, | 


ea 


‘ PORTRAIT, $8 000 


That Was tor Price of Eventi, but Large 
- Sums Were Paid for ‘Other Fa- 


mous Canvases, 


Mendelssohn Hall was crowded last 
evening. as rarely before in its history at! 
the auction of the pictures owned by Mr. 
David HH, King, Jr. A constant stream 
of carriages and automobiles unloaded 
throngs of men and women in evening 
dress for an hour previous to and after) 


the beginning of the sale at half-past/ % 


eight o'clock, The gallery was as crowded 
as the auditorium; and the. back room 
had. to be thrown open to accommodate 
the throng, 

‘The sale, while it did not reach the total) 
of Mr; King’s previous sale on February 
18, 1896, or $272,730, was a remarkable one| 
and closed - ‘with a total of $201,035 for 
Seventy canvases, This, added to the 
total of $17,879 obtained for Mr. King’s 
furniture, water colors, prints, engrav- 
ings, &¢c., at the American Art Galleries 
yesterday afternoon, makes a grand total 
Tor his collections of $218,914, 

The’ sale, which was conducted by Mr. 
Phacrias ®. Kirby, of the American Art 
Association, was full of surprises. Some 
canvases, notably a fine example of 
Mauve, but of his earlier period, which 
it had been confidently expected would 
bring $20,000, sold for $6,500 to Mr. W. G. 
while a full length portrait by 
Sir Joshua Reynolds of Sir Patrick Blake, 
not an interesting example, went for the 
yi figure of $1,050 to Mr. Cutter, of Buf- 

On the other ‘hand Mr. J. D. Ichenhauser 
paid, presumably for a eustomer, $18,000 
for “Natttier’s half length seated portrait 
of. the Comtesse ad’argenson, and a Mr. 
Hitcheock paid $10,500 for Raeburn’s seated 
portrait of Miss Macartney. 

Mr. Adolf Lewisohn paid $6,400 for a. 
beautiful half length seated portrait of 
the Duchess of Buckingham, attributed in 
ihe catalogue to Sir Thomas Lawrence, 
but which ‘had more the quality of. a 
Beechey or Harlow. The large and showy 
lhree quarter length portrait of the. Mar- 
quise de Lafayette, attributed to Largil- 
here, and which it was estimated would| 
bring" some, $10,000, was secured, it. was 
SHAG by. Mrs. George Bliss, for 


The full length and charming portrait of 
the Marquise de Saffray, standing by ther 
harp, went’ for the comparatively bow fig- 

sel of $5,700 to an unknown buyer through 

Chelsea, an agent, 
~ notably high prices in addition to 
“nationed of the sale were $7,900, 
unknown ‘buyer through Mr. 
agent, for Romney's portrait, 


= 


| 


eee 


“a2 $8, 500, again for a Rom-| 


M 

or a ‘Raeburn, a. 
standing portrait of Master 
Haig, by Mr. HH. Williams; $7, 
which figure ugene ‘Glaenzer. 
dealers, obtained | a fine example of 
“Sunset ;’’ , paid iby A. ‘otoh ¢ 
for a tender little Corot, wri 
and $5,200, paid for Sir’ Peter: ‘Lely’s. 
usual three-quarter length standing por- 
trait of Mr. Leneve, Alderman of No 
with something of the quality of 
Dyke, by an unknown buyer, f 
Williams, an agent,’ — 
Among the collectors and buyer 
ent were all tthe leading dealers 
William Van Worne,: Henry Payne, 
ney, Payne Whitney, - James De Wo 
Cutting, Thomas Perkins. Charles Tai 
Cincinnati; Adolf? Lewisohn, Herbert, a. 
terlee, Dr. Duncan Emmet, Ben: jamin 
Porter, ‘Colonel Franklin Bant ett | 


Mrs. George ‘Bliss. 
SOME OF THE NOTABLE ‘SALES. : 

Several of the buyers concealed. their 4 
identities, purchasing’ under assumé¢ at 
names or through salesmen, Stanley, Will 
jams and Chelsea were some of the: hames| : 
employed. 

The pictures that soldi for $1,500 or ‘over,! 
with title, artists, buyer's names, when 
obtainable and price for which sold, nihtet| 
as follows:— cae 
“Portrait iCatherine Mignand,’? P, Mignard; ; 

H. B. Wiltame: 05) see eee .' $2,500 
“Moorish ‘Horsemen’? EH. (fromentin: H. 

Ie os ois aha ae ona ae ee ee ..» 1,600 
“Portrait of a Lady,’’ John Russeil; Peis 

OMAR, 005 oO ae es rae tee gare “1,625 | 
esl of a Wady,’? tA. "Wiatteau: i. We 4 an 

CO Te ST Se , 4 

“NTA ter James, Haig,’’ Sir Henty Raeburn; cd 

H. LOM yy. ssancaca te gab Ge ale seu eet aden 9,000 
“The Duke ot Reichstadt,”’ Sir Thomas ee 

Lawrence; Payne Whitne a SS ue Pe Cote aera 3,500) 
“Portrait of Miss Sicott,’? Sir Thomas Law: 

rence; |A. Tooth & onsy : uy our eees ages 2,950 
“Queen ‘Charlotte,’ T. Gainsborough E. 

PASCO, ily Wy ee ete 2, 150 

“Sir Francis P.  Botrgeois,’” ‘Sir “William 

Beechy: Hi W., Payne, oy se0iy a. so. eee nee 4,000. 
“Dr. Richard Warren,’ T Gainsborough; 

Myss 1H. OW), SiDIey ite sec eens aie area enn eal 1,850 
“Portrait of a Gentleman,’’ J. Hoppner; | 

(Mrs, ‘1. (Pope ‘Siampsom.. 6.2... ew ee eee 1,050 
“Madame d’Fienin,’’ N. te angilitere: J. 

dhe TW. Cuititinigs i. oe S cease sees 2,000 
‘Madame Elisabeth cle France, ” ‘Sister | 

‘Louis Hoe leel ” Mme. Vigée Le Brun; Jules | 

(Qrefh. tn: ee kiele wie ste be ple ea els tle ees 8 * & jee ew ele be @! 2,775, 
“Mar hae de Breteuil,”” G J. Drowais; 

Gin Bano “Lasebnaa,™” C.K "Vilons O 
“Queen Mat esc ’ aa 

Piootih So SOUS. 6 eae wets ey oe ee ee we ole « 1,650) 


tiady Sarah ‘Banbury ,’" ‘sir ‘Gostia Rey- 


William Vian dtorne.... 
Pearle arate nce ulede iN Marie’ Diatevie; aoa 
Tiles Oehime yess ces even ce seye cesta ge TH 
‘Madame Vestris, Ae Mme. Vigde “Le Bran} eur 
A. Sitanley (awent) cc eee ses e ence eters j85t 
“Princess de sina A. Vestiier; Joseph ness 
PPUEtwel ee ee ese pene et ek ene wes Pa lca 
‘Madame fie Roissy,’ M. Nattier: u es Gog 
BACHE 5 cides ya's Eales pie Bale cme # ee owlm Male pads « 
“Pandscape.’ ” Fy Garpienies; J. Oeh: 1,650 
ey Se ‘Asaiph,’’ J. Hoppner; H. Soanley hal 
CAPOTIE) eee ele hg ate are en ee ai ner eng 2,500, 
8 + J,, Dupré: IB. Glaenzer & Co... 7,400 
a tse of a se Mle i. Gainsborough ; Hw. Hoo 
MATSURI cc 5 hie ela dor ela W one eco etn moreno goede 2,000 
“Tandseape,’’ C. FB. Daubignuy; WwW. 5S. Phil- aionp| 
sito: Soom, IRI Ore oh Grane stor eicstone ca Ns NC Ae aes 
“Near Mes ad "Avray, oT BC. Corts : ae 
Tooth & SONS... cee reese cpeeee see tes nes ‘| 
“Phe Heart of the Yorest,’ NoMa Diaz; Pe 
J. OCRMO, . 2 ee ye ede see ries aaa ed: ,050: 
“Dine de baat Lott N. de ‘Lang a hae! 
(Mr. George (@@ent) cee yee ee sete ye asia. | 
‘Tady Hamilton a f “Bacchante,’’ G. Rom- 8 500! 
ney: Et W. sls nae se pleats bin ‘ VK y 
“Duchesse ouicane) J. M. Nattier; ae ie e oni 
PEROT Ol aie ie niohe gs Rian BI Raa ich de Ke 1000, 
“Portrait of a Gentleman, I. Galusborong 4 ead 
A. Stanley (agent)... 6 ieee eee eb es wets s 4:00 
“hr. Geneve, Aidterman of Norw fey? Sir a 
Peter Lely; M. Williams (agent)... wed pin e's Os MD 
“Portrait of Miss Lockwood,’’ G, pominctal ne 
AL, Williams (aient) pin le eects eee | 


hee 


inane a total of 
‘by Mr: Kirby for 212 
nabs A 


ie an aS nglish ward- 
idridge or another old 

robe, Mr. J. R. Robinson 
ueen Anne secretary bookcase. 
ne buyer $375 for a sideboard. 
Van Horne secured for $340 
talian. Renaissance columns. 
figure obtained ‘for the furni- 
paid rel Mr. i Field for six 


ru s ar. ai ed campet went for 


[, R. Robinson, and another 
aoa 


Miss Lorenz, as 
ricea of. Ne etchings were 
‘ires of St. Johns,”’ jafter 
S$ picture, sold to TenoRnIS: 

and a fine impression of 


Fost: ” of the Thames 
: Manning for $75. ne 


ater colors, which 


sold for low figures. ts 


‘ 


Portrait of Countess d’Atgen- 
“son Sold for r$18, 000—Many 


Prominent Collectors. Were 


Among the Buyers Present 


ee 


Seventy buintiniene the Riie calleetiag 


‘brought $201,035 ®at) Mendelssohn Hall last 


evening. It was a fascinating auction sale. 
The anglomaniacs said that the art of 
France was namby-pamby. The exquisites 


said that it was incomparable. 

Nattier’s portrait of the Comtesse wu Ag 
genson brought $18,000, the highest price 
of the evening. And so the exquisites won. 
‘The buyer was J. D. Ichenhauser, who. bas 
a beautiful home at Hyde Park Terrace, in 


London. j 
Titles of pictures, names of painters and 
buy eos and prices are as follows: 
“Le Paysan,’”’? Ribot, F.. A. Chanman, $700; 
“Portrait of Mr, Romilly,’’ _ Lawrence, Julius 
Ovenine, $360; At Cairo,’? Fromentin,  H. 
Stercuson, $950: “Portrait of Oatherine Mignard, 
Miguard, H, B. Hollins, $2,500; ‘ Moorish pe 
mene? pomentin, Emerson McMillan. $1, 500 ; 
“Moonlight on the Yare, Norwich “Old ome,’ 
jada I Reichensderfer, $425 ; “me Giudecca,’ 
Boudin, Hugene Glaenzer & (,, $41,125; Seana 
on the Oise.’ Delpy, Judge J. O, Gray, $825; 
“M. de Nanteuil-Lanorville,’’ Pagnest, A. Tooth & 
Sons, $350; “Portrait of a Lady,’’ Russell, Julius 
Oohme. $i, 525 ; “fBaechante,’’ } st be 
ney, 800: ‘Portrait of a Lady,’’ Watteau, Harry 
Payne ‘Whitney, $3,500; ‘Portrait. of Nugent — 
Painter,” Opie. New York Co-operative Society 
$625: ‘Master James Haig,’’ Raebuin B. 
‘Hollins, $9,000;*''Duke of Reihstadt. 4 Lawrence, 
‘Payne Whitney, $8,500; ‘Portrait of Miss 8 cott,”? 
Lawrence, A, To oth & Sons, $2,950; ‘‘Master 
Kenwood  Shaw,’’ Lawrence, Benjamin De Porter, 


1. 475. 

“princess de Conde,’”’ Porbus, H, Stanley, ($960; 
“Lady Charlotte de Montmoreney,”” , Champagne, HK 
Stamey, $750; Queen Charlotte,” Gainsborough, 
Eugene Fischhof, $2,150; “Sir Francis . P. Bour- 
geow’, Ry,  A,,? Beechey,. Harry Payne Whitney, 
$4,100; “Typ, Richard Warren,’ Gainsborough, 
Mrs. H, W, Sibley, $1,850; ‘‘Portrait of a. Gentle- 
man,’ Hoppner, Mrs, Pope Sampson. $1,550: 

“Madame d’Henin,’’ ‘Largilliere, J. De W. HE wut: 
ting, $2,000; ‘Portrait of Mrs’ Clarke,’ Romney, 
FE. Stanley, $1,400; “Madame, Scarron,’? Mignard, 
| Gir William Van Horne, $900 “Madame Elisabeth 
de France,’ Virgee Le ‘Brun, dinltus’ ‘Oehme, $2;725; 
“Marquise de Breteuil,’ Drouais, Emerson Me- 
| Millan, a 700; “‘Queen Marie’ Lescinska,’’ Vanlog, 
A. Tooth’ & Sons, $1,650; ‘‘Lady Sarah ‘Bunbury,’ 
Reynolds, ‘Sir William Van Horne, $2,100,; ‘*Ma-, 
dame de Noailles,’? Largilliere, Geo. Arents, Jt, 
$1,250; ‘‘A Normandy Pasture,” Mme. Dieterle, 
Julius Oehme, $2,750; ‘“‘A Garden Party,’’ Mon- 
ticelli, H, Stanley, $1, 250; ‘‘Thomas Thornhill 
Msq.,’ Romney, BE, McMillan, $1,000; ‘Portrait 
of a ace Gentl eman,’” Russell, Max E, Bern- 
heimer, $8 tet y Vestris,’”’ Virgee Le Brun, 
H tes 1,85 a Samwell,’ mre Bee i, 


eburn, | ep 
Fale $1,400; ““Madam: ce de Roissy,’’ Nattier, 
a 


Jules S. Bache, $7, 600 ; fc 
Julius Ochme, $1,650; ‘Lady St. Asaph,’ Hopp- 
ner, H. Stanley. $2,500; ‘Character Sketch of Mrs. 
‘Sida ons,’’ Gainsborough, Cc B. Ale: a: 1,000; 
Sunse,’ Dupre, Eugene Glaenzer 7400; 
“Portrait of a dy,”? Gainsborough H, Willems, 
$2,500; “Landscape, ay ubign 
$3. 800: Pay Mpa of a died Gir ” Mile oux, 
$00: Ville 
ied Mei $5.225: “Sun-, 


BNO 


Am 


As 


< Li] + . 


ON FREE VIEW DAY AND EVENING 
AT THE AMERICAN ART GALLERIES 


MADISON SQUARE SOUTH, NEW YORK 


FROM SATURDAY, MARCH 25rn, 1905 
UNTIL THE DAY OF SALE, INCLUSIVE 


THE KING 
COLLECTION 


UNRESTRICTED PUBLIC SALE 
AT THE AMERICAN ART GALLERIES 
ON THE AFTERNOON OF FRIDAY 


MARCH 81st 
AND 


AT MENDELSSOHN HALL 


ON THE 
EVENING OF FRIDAY, MARCH 3lsr 


f' 
fa 


i 
Gah Sousa 


ro 
CATALOGUE 


EAA 9) 
OF rn ? : 


EARLY ENGLISH AND FRENCH 


PORTRAITS 


BARBIZON AND DUTCH PICTURES 


ANTIQUE FURNITURE 


AND OTHER ART PROPERTY 


Mr. DAVID H. KING, Jr. 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 


ON THE DATE HEREIN STATED 


THE SALE WILL BE CONDUCTED BY 
MR. THOMAS E. KIRBY 
OF THE AMERICAN ART ASSOCIATION 


MANAGERS 


NEW YORK: 1905 


nha 


Duy ae 
usw 


y ‘ \ 
HS Oa 2 arama De 
Pes AMAL 


y's 


Press of J. J. Little & Co. 
Astor Place, New York — 


t } 
araliiug 


Jad 


CONDITIONS OF SALE 


1. The highest Bidder to be the Buyer, and if any dispute arise 
between two or more Bidders, the Lot so in dispute shall be im- 
mediately put up again and re-sold. 


2. The Auctioneer reserves the right to reject any bid which is 
merely a nominal or fractional advance, and therefore, in his 
judgment, likely to affect the Sale injuriously. 

3. The Purchasers to give their names and addresses, and to 
pay down a cash deposit, or the whole of the Purchase-money, if 
required, in default of which the Lot or Lots so purchased to be 
immediately put up again and re-sold. 


4. The Lots to be taken away at the Buyer’s Expense and Risk 
within twenty-four hours from the conclusion of the Sale, and the 
remainder of the Purchase-money to be absolutely paid, or other- 
wise settled for to the satisfaction of the Auctioneer, on or before 
delivery; in default of which the undersigned will not hold them- 
selves responsible if the lots be lost, stolen, damaged, or destroyed, 
but they will be left at the sole risk of the Purchaser. 


5. While the undersigned will not hold themselves responsible 
for the correctness of the description, genuineness, or authen- 
ticity of, or any fault or defect in, any Lot, and make no War- 
ranty whatever, they will, upon receiving previous to date of 
Sale trustworthy expert opinion in writing that any Painting 
or other Work of Art is not what it is represented to be, use 
every effort on their part tc furnish proof to the contrary; fail- 
ing in which, the object or objects in question will be sold 
subject to the declaration of the aforesaid expert, he being 
liable to the Owner or Owners thereof, for damage or injury 
occasioned thereby. 


6. To prevent inaccuracy in delivery, and inconvenience in the 
settlement of the Purchases, no Lot can, on any account, be re- 
moved during the Sale. 


-%. Upon failure to comply with the above conditions, the money 
deposited in part payment shall be forfeited; all Lots uncleared 
within one day from conclusion of Sale shall be re-sold by public 
or private sale, without further notice, and the deficiency (if any) 
attending such re-sale shall be made good by the defaulter at 
this Sale, together with all charges attending the same. This Con- 
dition is without prejudice to the right of the Auctioneer to en- 
force the contract made at this Sale, without such re-sale, if he 
thinks fit. 


8. The undersigned are in no manner connected with the 
business of the cartage or packing and shipping of purchases, and 
although they will afford to purchasers every facility for em- 
ploying careful carriers and packers, they will not hold them- 
selves responsible for the acts and charges of the parties engaged 
for such services. 


Tue AMERICAN ART ASSOCIATION, Manacens. 
THOMAS E. KIRBY, Avcrioneer. 


SALE ON FRIDAY EVENING 
MARCH Slst, 1905 
AT MENDELSSOHN HALL 


BEGINNING PROMPTLY AT 8.30 o’cLOCK 


No. 1 


AUGUSTIN THEODULE RIBOT 
1823—1891 


SeeeweAN 7 Of) haha 


THE head and shoulders of a sturdy old peasant, his wrinkled 
and weather-beaten face suggesting a long life of toil and 
exposure, alleviated by his sense of humor and his love of the 
good things which come in his way, this temperament indi- 
cated by his small, twinkling eyes, his thin, mobile upper lip 
and the general cast of his features in form and color. The 
head is in three-quarters view to the left, and in full, strong : 
light falling from above. He wears a medium-sized black felt i 
hat, a collarless coat with large buttons, a white neckerchief 
and a brown waistcoat. 


_ Signed at the lower right, Risot. 
Height, 2134 inches; width, 18 inches. 


No. 2 


SIR THOMAS LAWRENCE, P.R.A. 


1769—1830 


PORTRAIT OF MR. ROMILLY 


THE figure of a gentleman seated in a mahogany easy-chair 
upholstered with yellow plush. His right elbow rests on the 
arm of the chair, and in his left hand he holds an open letter. 
The figure is in three-quarters view to the right. He wears a 
dark gray coat with full roll collar and a white neckerchief. 
It is painted on ivory, and the head is somewhat larger than 
the ordinary miniature. 


Height, 10 inches; width, 8% inches. 


No. 3 


EUGENE FROMENTIN 
2/. de of, vtriept ee oa % 


Si Pt ee ay, J i 
Ky ty ete ‘ 
ei ai \ a ‘ wo y £ 4 
AT CAIRO 4 © ’ ed a ae ies \ ier 
3 ee hy 
He . wp 


A poo. of water gleams in the broad shadow which covers the 
sandy waste of land in the foreground. In the middle distance 
is a corner of the town with a great square tower rising above 

the trees, and a high wall showing here and there under the 
lofty palms. On the right is a broad passage of sunlight illu- 
minating the plain, with a line of buildings and sandy hills be- 
yond. The sky is covered with a thin veil of vapor in the soft, 
warm light of the afternoon sun. 


Signed at the lower left, Evc. FRoMENTIN. | 


Height, 914 inches; length, 15% inches. 


No. 4 


/ PIERRE MIGNARD 


y i 1610—1695 4 


ty _ be a E 
: Fl, (ee Hla 


‘a, “ PORTRAIT OF CATHERINE MIGNARD 

THE head and shoulders of a comely young lady in full face 
with the body turned slightly to the right. She is dressed in a 
loose gown of blue satin clasped at the bosom and on the arms 
by rich brooches, a white full-sleeved chemise trimmed with 
lace and draped over her left shoulder, and a wine-colored silk 
mantle. Her dark hair frames in natural masses the oval of 
her face, with its naive expression of mild, innocent surprise. 
A. few wild-flowers are arranged in the hair, falling over a 
pearl-ornamented comb above her right ear, and a ruby in a 
narrow gold setting is placed just above the parting on the 
forehead. The background is a simple tone of brown. The 
sitter was the daughter of the artist, and afterwards became 
the Comtesse de Feuquiéres. 


No. 5 Vi | 


EUGENE FROMENTIN he 
1820—1876 i: : j a, | 


AAA ATER © i 
MOORISH HORSEMEN 


A CAVALCADE of Moors is galloping along a pleasant valley 
among the foothills of a range of mountains. They are 
mounted on spirited animals of various colors, and wear a 
variety of gay costumes. One of them carries a small red, yel- 
low and blue banner, which floats at the end of a long shaft. 


___ In the distance the jagged mountain summits, with here and 


there a gleaming spot of snow, form the horizon under a sky 


which is partly covered with soft gray clouds. The sunlight | 


falls strongly on the horsemen, and casts deep but luminous 
shadows on the right and left of the foreground. 


Signed at the lower right, Euc. FRoMENTIN, 26% 


itis AG 
Mee M 
X 
ei 


mae” 


a \ Height, 91% inches; length, 151% inches. 


ye 


ay * 


No. 6 


JOHN CROME 


(caLteD “OLD CROME”) 


1769—1821 SY | te 
(hL- thew 
MOONLIGHT ON THE YARE, NORWICH 


THE mirror-like river extends across the foreground, and on 
the left is a sandy point with a few small buildings in an ir- 
regular group and a fishing boat or two moored to the shore. 
The full moon is showing itself above a bank of clouds on the 
right, its light shimmering on the water below and bringing 
the sandy point into strong contrast against the sombre sky 
beyond it. Across the river is seen the town in the mysterious 
light dominated by a great church tower, which rises high 


bove the line of buildi 
above the line of buildings. a ue oF 


Baa 9 inches; length, 17 inches. 


—— <<<“ + 


No. 7 


~~ 


SS ee 


LOUIS EUGENE BOUDI 


1824—1898 # 
a ate . 

THE GIUDECCA, VENICE. B as 

4 


Ulatrracr Gy. 

THE gently rippling waters of the canal refloct the broad, dif- 

fused light of the sky, the trees on the right of the picture, a 

barca with its load of passengers, and the hull of a great yel- 

| low-painted brig, which is the prominent object in the compo- 

a sition. On the right beyond the trees are a group of red-roofed 
buildings, and numerous boats moored alongside the quay. On 

_ the left is a church with a large portico, a dome and a cam- 
panile. A flock of birds hover in the sky at the upper right. 


a tO Natt mc Sn 


| Signed at the lower right, VENiseE, E. Boupin, 795. 


Height, 18 inches; width, 15%4 inches. 


ai Burne bos ’ 


No. 8 


Oi Be DRE Yy 


Contemporary 


y 
Wy () 
SUNSET ON THE OIE o/ ‘ate ts a 


if 


A CHARACTERISTIC river view in a well-known region of 
France, the favorite source of many motives for the landscape 
painters. A broad, placid river flows from under the distant 


hills through the stone archway of a bridge, and around in a 


broad sweep to the right foreground. On the left two washer- 
women kneel by the water-side, resting for a moment to watch 
the movements of a flock of ducks, which swim toward the 


land. In the middle distance a village and, across the river, an — 


irregular row of poplar and other trees form a broken and 
interesting sky line. It is the hour of early sunset, and the 
glowing disk is disappearing behind the purple hills in the dis- 
tance. The quiet water reflects with mirror-like distinctness 
the tree forms and the warm and varied tones of the sky. 


Signed at the lower right, C. H. Detpy, ’99. 


Height, 2014 inches; length, 31% inches. 


ei 


No. 9 


A. L. CLAUDE PAGNEST 


1790—1819 


M. DE NANTEUIL-LANORVILLE 


A CHARACTERISTIC type of a French gentleman advanced in 
years, but vigorous and alert in mind and body. He is seated 
in three-quarters view, with his head turned over his right 
shoulder, and his eyes turned still farther in the same direc- 
tion; is dressed in a bottle-green coat with rolling black velvet 
collar, nankin waistcoat, white shirt collar, stock and jabot, 

and wears a red and white ribbon in his buttonhole. He is 
smooth shaven, after the fashion of the period, and his gray 
hair, arranged with almost studied negligence, frames his 
high forehead and partly conceals his ear. The half-humorous 
expression of the eyes, increased by the irregularity of the 
black eyebrows, is echoed by the lines of the thin lips, which 
are on the verge of a smile. 


Height, 24 inches; width, 1934 inches. 


Oy Opeth Wane 


No. 10 


JOHN RUSSELL, R.A. 


1744—1806 


if) f 
PORTRAIT OF A LADY %. Wetarank 
v 


Pastel 


THE head and shoulders of a young lady with her pet parrot 
by her side. She holds her right hand over the head of the bird, 
which, perched on a stone pedestal, turns his head back, 
spreads his tail and flutters his wings. Her powdered hair is 
dressed in wavy masses high above the forehead, and falls low 
on the neck behind. A single pear-shaped pearl hangs from 


her left ear. She wears a white satin décolleté gown with short 


sleeves over loose tulle, and a thin pink scarf or shawl draped 
over her left shoulder. Her head is in three-quarters view to 
the left, and is inclined toward her right shoulder, the dark 
eyes following the same direction. 


Signed at the lower right, J. Russet pinxt., 1776. 


Height, 24 inches; width, 18 inches. 


No. 11 


JOHN OPIE, R.A. 


1761—1807 


aaa V gee 


THE introduction of the attributes of a mythological charac- 
ter in portraits of women gave to the artists of the eighteenth 
century the opportunity and the excuse for flesh painting 
which the costume of the time did not offer, and in this study 
of a young girl, with a few leaves in her hair and a leopard 
skin around her shoulders, Opie has been able to display the 
richness of his palette in flesh tones and to prove his mastery 
of the effect of strong light and shadow. The figure, which is 
seen to the waist only, is in three-quarters view to the left, and 
the light falls strongly from the upper right, casting deep but 
luminous shadows on the face and neck, and bringing out the 
flesh in strong relief against the deep-toned background, the 
dark auburn hair and the leopard skin. A corner of thin white 
drapery is thrown across the bosom, accentuating the form 
and giving value to the adj acent tones. 


Awnrty wiht Height, 29% inches; width, 2414 inches. 


No. 12 


ANTOINE WATTEAUW. 
| Th Vangent 


1684—1721 
} he 


iy anne4 aly pve 
PORTRAIT OF A LADY 


A LIFE-8IZED head and shoulders of a rosy-cheeked lady, with 
the lofty head-dress affected in the last quarter of the eigh- 
teenth century. Her hair is dressed to a high point under an 
open lace cap with a pink and white striped ribbon, the cap 
being covered with a net veil which passes under the chin. She 
wears a white silk jacket with full sleeves trimmed at the neck 
and arms with brown fur. The head is in three-quarters view 
to the right, is slightly inclined in the other direction and is 
strongly lighted from the upper left. The inchs: is a 
simple graded tone of warm gray. 


Height, 21% inches; width, 17% tnches. 


From the Lyne-STerHENs Collection, London, and the Jutxrs Porcts Collection, 


: ° Gans shoo 
Paris, Jy % 3, o OR K « o at 
ee een 4 y ina 
t An.e1/— S 


; iu { \ Ww 


Tid 


No. 13 


JOHN OPIE, R.A. 


¥> (, 4 
1761—1807 7. . fr 


| PORTRAIT OF NUGENT THE PAINTER 


Tue head and shoulders of a man in early middle age in three- 
quarters view to the left. He is dressed in a snuff-brown coat 
with high velvet collar, a white lawn stock, and sits in a red- 
covered chair with both hands clasped on the edge of a large 
book, which rests upon his knees. The head is inclined toward 
| the left, and the eyes look in the opposite direction. The abun- 
_ dant brown hair is of moderate length, and frames a face 
_ vivacious in expression, refined and thoughtful in type. The 
_ background is a broken tone of warm brown, suggesting oak 
. paneling, and the light falls from the upper right, strongly 
| illuminating the head and the hands, and throwing the lower 
part into deep shadow. 


Height, 30 inches; width, 25 inches. 


Se Rs oe 
_ 


No. 14 


STIR HENRY RAEBURN, R.A. 


1756—1823 | — 


MASTER JAMES HAIG 


THE young man, who was afterwards first Judge in the Ma- 
dras civil service, sat for this portrait in 1812, when he was 
eighteen years of age. It is in three-quarters view to the left, 
lighted strongly from the upper right, and the figure is seen 
only as far as the waist. He wears a roll-collared bottle-green 
coat over a nankin waistcoat, and a white linen stock. The 
youthful face is crowned by a mass of wavy hair, which is 
parted on the right and falls in short curls over the left temple. 
The mouth is slightly open, and the eyes are gentle but alert in 
expression. The background is a warm gray, in agreeable and 
strong contrast to the warm flesh tones and the colors of the 
drapery. 


Height, 29 inches; width, 24% inches. 


‘ " eee ae * 
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No. 15 


SIR THOMAS LAWRENCE, P.R.A. 


1769—1830 


THE DUKE OF REICHSTADT \ ‘2 
(Aaijne ) hit a vs 
THE unfinished life-: sized head of the son of Napoleon I. as a 
young boy, showing not only the method ‘of the painter, but 
suggesting the chief characteristics of the sitter. It was evi- 
dently begun from a drawing which was traced upon a can- 
vas covered with a warm brown tone. A background of an in- 
teresting broken tone of blue has been partly rubbed in, and a 
white collar and the lapels of a dark jacket have been skilfully 
suggested. Sir Thomas painted two portraits of the young 
Napoleon for the Austrian Court, and the head in question 
was done at the time the boy was given the title of the Duke 
of Reichstadt by the Emperor of Austria, in 1818. Thomas 
Moore wrote in his diary: “ Nov. 18, 1819. Lawrence showed 
me his portrait of young Napoleon, which is highly interest- 
ing; a beautiful child, full of thoughtfulness and simplicity; 
a fine subject for verses; the past, the present, and the future 
all contained in it.” 


Oval—height, 2234 inches; width, 1834 inches. 


No. 16 


SIR .THOMAS LAWRENCH, P.R.A. iv 
1 | 


ails , a, 8 
+ Bee ie, 
wo hip mS) 
D, u) 
f, ve ty 
’ % tae 
; e 
¥ wf i] 


PORTRAIT OF MISS SCOTT *, * 


1769—1830 


Tue half-length figure of a lady in a low-cut, short-sleeved 
satin dress seated on a sofa leaning slightly on her raised right 
arm, and her left, which is partly draped in a thin red scarf, 
extended by her side. The figure is in three-quarters view to — 
the right, and the head is slightly inclined toward the left — 
shoulder, with the placid eyes looking out of the picture. The 
brown hair is dressed with a formal arrangement of ringlets 
on either side, and the knot at the back is bound by a narrow 
gold fillet. The head and shoulders are relieved against a sky 
background, a bit of wooded landscape shows at the lower 
right, and on the left is part of a marble column. The sitter 
lived at Danesfield, Great Marlow. 


Height, 35%, inches; width, 28 inches. 


No. 17 yes 
(2. G. Vorler 
SIR THOMAS LAWRENCE, P.R.A. 


1769—1830 


MASTER KENWOOD SHAW 


THe head and shoulders of a young gentleman of pronounced 
English type, the eldest son of Sir John Gregory Shaw and 
the Honorable Theodosia Margaret, youngest daughter of 
John, second Lord Monson. A sturdy growth of fair hair is 
brushed with studied negligence, and small, curling whiskers 
scarcely fall below the lobe of the ear. He wears a dull red 
coat, with a large collar of brown fur, which nearly covers a 
white lawn stock around the throat. The figure is nearly in 
profile, and the head is in three-quarters view to the left, the 
eyes turned toward the spectator. The background is a deep- 
toned sky, with the light concentrated on the lower part.. 


Height, 30 inches; width, 25 inches. 


= 
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sasesthassententetiioestop-urdouaeoesonesneaooenannnenne eee 


No. 18 


FRANS PORBUS 


, y “he 
a 1570—1622 HH. pt 


THE PRINCESSE DE CONDE 


THE head, shoulders and arms of a young lady dressed in the 
elaborate formality of the sixteenth century. An immense 
lace ruff is arranged so as to frame her neck and head, and is 
fastened at the bosom by an immense jewelled brooch with 
three knots of red ribbon. A triple string of large pearls hangs 
around her shoulders under the ruff, and falls over the stiff 
bodice of black satin, which is embroidered with an elaborate 
pattern in gold thread. She is further decorated with a single 
string of the same jewels around the throat, large pendant 
earrings, and an emerald and pearl ornament in her hair just 
below a crown-like arrangement of red ribbons. Her head is in 
three-quarters view to the left, and is slightly lowered, with 
the eyes looking directly at the spectator. 


Height, 29% inches; width, 231% inches. 
Inscribed at the upper right, La Princesse pE ConnDeE. 


From the collection of M. Gaver, Paris. 


No. 19 


PHILIPPE DE CHAMPAGNE 


as ay 4 hO ’ 
LADY CHARLOTTE DE MONTM RENCY J 


THE sumptuous embellishment of costume reached its height 
at the period of this portrait, and the lady who gazes out of 
the canvas with an air of satisfaction at being in the height of 
fashion is a work of art in herself. The hair is arranged with 
studied formality in two rounded masses, and flattened in a 
__eurve upon the forehead. The large puffed sleeves and the 
stiff bodice are of white satin, with elaborate gold embroidery 
and gold cord knots and frogs. There are great pearls in her 
- ears, around her neck and bust, and three enormous pear- 
shaped ones hang from a jewelled brooch which fastens the 
rich lace ruff and collar at the bosom. The head is in three- 
quarters view to the left, and the eyes are slightly lowered. 


Height, 2834 inches; width, 241% inches. 


From the collection of M. Gaver, Paris. 


No. 20 


THOMAS GAINSBOROUGH, R.A. 


1727—1788 — 
/) / 
QUEEN CHARLOTTE g 


Pastel 


THE head and shoulders of the lady nearly in full face, with 
the eyes slightly lowered and looking to the left. Over her — 
powdered hair, which falls in loose ringlets on either side of 
her slender neck, is a loose cap of lace and tulle, coming to a 
point at the top and falling over the ears. She wears a lace- 
trimmed black dress over a white tulle fichu, a collarette of 
small pearls around her throat and a single large one on her 
bosom. The background is a graded tone of soft brown. 


Oval—height, 28% inches; width, 23% inches. 


Mentioned in Armstrone’s “ Gainsborough.” 


ALE OV ARAN US cagA RARE MUN RO AOE ahaa rn 


No. 21 


SIR WILLIAM BEECHEY, R.A. 


1753—1839 
ee i i Joo 


ar dys y “up 
Fe Va 


esau 


SIR FRANCIS P. BOURGEOIS, RA. 


Tue head and shoulders of a gentleman of pronounced Eng- 
lish type in three-quarters view to the left. He wears a dark 
blue coat with velvet collar and brass buttons, and a white 
lawn stock. His gray hair is of moderate length, and is 
brushed away from the forehead and over the ears in the fash- 
_ ion of the time. Particular interest attached to this portrait on 

account of the fame of the sitter, who was a landscape painter 
of considerable repute, and late in life received a legacy of a 
large number of pictures of great value, which, with additions 
purchased by himself, he bequeathed to Dulwich College, with 
two thousand pounds to fit up a gallery for the collection and 
a fund of ten thousand pounds for its maintenance. 


Height, 29% inches; width, 25 inches. 


No. 22 


THOMAS GAINSBOROUGH, R.A. 


1727—1788 Yi, _ p J 
Cua ( ‘ENG 


DR. RICHARD WARREN 


THE celebrated physician, in gray wig and gray coat buttoned 
up so as to show only the lapels of a green and white silk 
waistcoat enclosing a rich lace jabot, is seen as far as the waist, 


nearly in full face, with his head slightly turned to the left, 


and the eyes following the same direction. The light falls 
from the upper left, and the head and shoulders are con- 
trasted against a background of indefinite broken blue tones. 
The vivacious expression of the eyes, no less than the rich color 


of the flesh, suggests that the sitter, who was the well-known — 


physician in attendance on George III, was at the time he was 
painted in the height of health and vigor. 


; j p BO. 4 "3 
i eke “ OO 


Height, 27% inches; width, 23% inches. 


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No. 23 


JOHN HOPPNER, R.A. 
1758—1 ie fp 
A 


PORTRAIT OF A GENTLEMAN 


Tue head and shoulders of a man in the prime of life wearing 
a gray wig and a high, roll-collared coat with white stock and 
lace jabot. The body is in full face, but the head is turned to 
the left, following the direction of the eyes. The long oval of 
the face, with its refined features, suggests breeding and dis- 
tinction of character, and the type is a representative one. The 
background is a red curtain, with the folds accentuated here 
nd there. The head is in a strong but diffused light, which 
_ falls from the upper left. The sitter is said to have been the 
Earl of Carlisle. 


Height, 25 inches; length, 30 inches. 


No. 24 


“NICOLAS DE LARGILLIERE 


1656—1740 


* 4 fa Y j | 
MADAME ioalie dor kD eh UG 


THE head and ea of a Bx in full f tn | the head in more 
than three-quarters view to the left. Her hair is powdered and 
is carefully dressed in curls above the forehead, and falling 
upon the shoulders on either side. Her dress of pink silk, em-_ 
broidered with silver thread, has full elbow sleeves, a narrow, — 
straight and formal bodice, is ornamented at the bosom, the 
waist, the shoulders and arms with jewels, and a scarf of silver 
cloth is draped from her right shoulder around her left arm. 

_ A jaunty little cap of pink silk, with a white ostrich feather, 
is set so as to show the peak just above the right eye. The back- 
ground is a graded tone of brown, agreeably relieving the sil- 
very tones of the hair and the delicate colors of the drapery. 
The sitter was the wife of the President of the Parliament of 
Paris under Louis XIV. 


Height, 311% inches; width, 25 inches. 


From the collection of MapaME DE VALLOMBREUSE. 3 Loo 


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No. 25 


GEORGE ROMNEY, R.A. Wa 
1734—1802 


f 


PORTRAIT OF MRS. CLARKE f 
Tue lady stands nonchalantly resting her left elbow on a 
square pedestal, lightly extending her right hand on the wrist 
| of the other arm. The head is in three-quarters view to the left, 
_ and is slightly raised, the eyes looking toward the spectator. 
Waving masses of brown hair frame the face and+fall upon 
the shoulders. She wears a bottle-green dress with sleeveless 
bodice over a full tulle undergarment with short sleeves, and 
her only ornament is a string of corals around her neck. The 
light falls strongly from the upper right, and the background, 
which is a simple tone of rich brown, is broken by a suggestion 
of a curtain on the left. The sitter was the favorite of the Duke 
of York. 


Height, 3014 inches; width, 25 inches. 


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No. 26 


PIERRE MIGNARD 
1610—1695 
Ty iy 0, By 
a Des i / ) 
2) MADAME SCARRON \ 44 / ban, OO: an 


Tue figure of a young lady, seen to the waist in full face, with 
the head in three-quarters view to the left, the eyes turned in 
the same direction. She wears a red silk négligé gown, trimmed 
with gold cord and embroidery, and over it a white brocade 
cloak lined with deep blue velvet and trimmed with gold thread 
lace. The dress is partly open on the bust, showing a delicate 
lace undergarment. The dark hair is dressed high on the head, © 
with a small, pointed curl on either temple, and a large gold 

ornament showing among the formally arranged masses at the — 
top and back. The background is a simple tone of warm gray, 
and the drapery is cut off at the lower part by the lines of an > 
oval surounding the portrait. 


Height, 32 inches; width, 25% inches. 


No. 27 


MADAME L. E. VIGEE LE BRUN 


1755—1842 
a ‘ 


MADAME ELISABET '‘ ee FRANCE, 

g yp SISTER OF LOUIS XVI 

ae ie 3 ae 

THE half-length faut of a lady in the flush of youth and 
_ beauty, seated in full face, with the left arm extended and the 
right falling by her side. She wears a thin muslin décolleté 
gown, with full sleeves confined to the arms by satin ribbons, 
and to the waist by a parti-colored silk sash, and over it a small 
green silk jacket fastened at the bosom by a mauve silk bow. 
A thin muslin fichu is crossed over the bust. The powdered hair 
is dressed high, with large curls at either side falling upon the 
neck, and a straw Watteau hat, trinmed with wild-flowers 
and jauntily perched on one side, suggests the fashionable 
taste of the period for the charms of rusticity. The back- 
ground is a broken tone of gray, lighiest near the shadow side 
of the head, which is in strong light from the upper left. 


Height, 31% inches; width, 25 inches. 


From the collection of M. Le Comte Jacaurs DE I3RYAs. } 
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No. 28 


GERMAIN JEAN DROUAIS 


frullan fe ia 


1763— ie? 


bE The Pte 


THE MARQUISE DE BRET 


THE half-length figure of a young lady, seated in a red uphol- 
stered gilt chair, with both hands in muff on her lap, and her 
head in three-quarters view to the left. Her powdered hair is a 
masterpiece of the conventional coiffeur’s art, with formal 
rolls and puffs, lace and jewels and a feather. Her dress is of 
blue satin, with lace-frilled sleeves tied at the elbow with pink 
and blue striped ribbon bows, which are repeated at the bosom 
of the low-cut bodice. A slender fur boa or trimming falls over 
the shoulder and down the waist, and around her neck is a very 
narrow black ribbon with a tiny gold heart as a pendant. 'The 
background is a simple tone of warm gray, graded from left 
to right, where it shows the angle of the room. 


Height, 32 inches; width, 254% inches. 


From the collection of M. Gaver, Paris. 


Sa Aa ea 7 


No. 29 


CHARLES ANDRE VANLOO 


QUEEN MARIE LESCINSKA 


THE lady, in a royal mantle of gold-embroidered blue velvet 
lined with minever, which conceals both hands and one arm, 
sits facing the spectator, with the head in three-quarters view 
to the right. Her powdered hair is arranged in formal curls 
around her forehead, and ornamented with a jewelled band 
and a gold diadem. A single long curl falls upon her left 
shoulder, and another at the back of the neck. Her dress is of 
stiff gold brocade, ornamented with a large brooch with thin 
pear-shaped pearls at the top of the narrow stiff bodice, and a 

narrow belt of the same at the waist. The background is sky, 
with foliage faintly suggested on either side. 


Height, 3214 inches; width, 2514 inches. 


MANE, YG) DOERR to oe OO 
RUA NANI hee 
i 


No. 30 


SIR JOSHUA REYNOLDS, P.R.A. 


sig angi ; ba q 
Car’ (t. he Vegas /O4 ail 


LADY SARAH BUNBURY 


THE half-length seated figure of a lady in three-quarters view 
to the left, the head inclined downwards and the eyes turned 
toward the spectator. She wears a blue silk gown, with full 
elbow sleeves and ample skirt, a tulle fichu and apron, and at 
the turn of the shoulder and sleeves ruffles of rich lace. A large 
pearl brooch-like ornament hangs from her ear, and a single 
string of the same gems is tied around her throat by a blue rib- 
bon. Her hair is brushed back from the forehead, and is con- 
fined to the head by a lace cap, the edge of which shows like a 
halo around ler head. Her arms rest in her lap, and in her left 
hand she holds an open book. The background is a tone of 
brown, against which are relieved a red curtain and y red 


upholstered chair back. 
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No. 81 


NICOLAS DE LARGILLIERE 


656—1 746 


tf 
MADAME DE NOAILLES 


THE stateliness of the pose of this high-bred lady is increased, 
if possible, by the coiffure, which is erect and lofty, crowning 
the head with a mass of light brown hair. A large pear-shaped 
pearl pendant is fastened in the middle of the structure, and 
a rope of pearls is wound around a long, flowing tress, which 
falls low over her right shoulder. Her left hand is raised to her 
bosom, and her right arm hangs by her side. She wears a wine- 
colored, silver-shot silk gown, cut low at the neck, with rich 
lace ruffles around the bust and arms, a stiff bodice and full 
elbow sleeves. Over her shoulders is draped a blue silk mantle 
with gold-thread stripes. The head is in three-quarters view to 
the right, and the eyes look directly at the spectator. The back- 
ground is a simply graded tone of warm gray. 


Oval—height, 38 inches; width, 29 inches. 


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a 


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= 


MADAME MARIE DIETERLE 


A NORMANDY PASTURE Wetanar,  @ 


A HERD of spotted cows and calves is driven toward the fore- __ 
ground by a peasant on horseback. The sun strikes full upon 
the group from the left, throwing part of the herd into a deep 
shadow. A pleasant pasture stretches away to the middle dis- 
tance, where a white horse is partly hidden by a dip in the © 
ground. Beyond is seen a broad open marsh along the sea- 
shore with cattle feeding here and there and, on the left, a suc- 
cession of headlands projecting into the sea. The sky is cov- 
ered with clouds, and the horizon line of the water is softened 
by a warm summer haze. 


Signed at the lower left, Manm Dreterte. 


Height, 2044 inches; length, 2734 inches. 


No. 33 


ADOLPHE MONTICELLI 


A GARDEN Party ‘Y, 4 A barbers 


A Grou? of ladies in summer dresses showing a variety of col- 
ors is seen in a broad garden path under a densely growing 
rank of trees. The group is arranged in frieze-like order, and 
is divided into four sections, diminishing in mass from left 
to right. The kaleidoscopic effect of colors both in the dresses 
and in the foliage suggests a variety of incidents of light and 
shade and form which can scarcely be described with accuracy, 
and can only be recorded as the deliberate intention of the 
artist to appeal to the imagination of the spectator. 


Signed at the lower right, MontTIce111. 


Height, 1914 inches; length, 39% inches. 


No. 34 


GEORGE ROMNEY, R.A. a 
1734—1802 BY oy q 
THOMAS a iheat Gis ESQ. / a 


Tuis example of Romney’s most careful technique was 
painted in 1779, and probably somewhat altered by the artist 
later. It is in three-quarters view to the right, with the eyes 
turned toward the spectator. He is dressed in a blue velvet 


fur-lined coat and waistcoat, with white lace jabot and'sleeve a 
ruffles. His left hand holds the edge of his coat, and his cocked | 


hat is held under the left arm. The brown hair is carefully q 
dressed, with rolls over each ear and a queue with black ribbon. _ 


The extreme care with which the features are drawn and mod- — i, a 


elled, and the elaboration of the textures of the draperies and a 
other accessories, show that Romney was not at this particular 
period impatient of method or ambitious of rapid production. 


The Thornhills were a well-known family of Fixby, York- — 4 | 


shire, and this portrait, together with those of Mrs. and Mas- _ 
ter ‘Thornhill, remained in possession of the family until 1896. 


Height, 29 inches; width, 241% inches. 


From the collection of Sm Tuomas Toornut1, Bury St. Edmunds, England. 


pf 
cat 1 Rigs ae 
A ‘ ey? eM , 
4y, Bahay if Muy Pang q 


No. 35 


JOHN RUSSELL, R.A. J 


1 | ) 1744—1806 
PORTRAIT OF A YOUNG GENTLEMAN 


Pastel 


THE seated figure of a ruddy-faced young nobleman, said to 
be the Duke of Cumberland, with folded arms, in three-quar- 
ters view to the left. He wears a roll-collar black coat over a 
_ yellow waistcoat and a white jabot and lavender breeches. A 
__ fob with pink ribbon and seal shows under his right arm. He 
apparently wears a gray wig over dark hair, which shows at 
the temples, and a bit of the queue and ribbon is seen at the 
back. In the upper left, beyond a column, is a landscape with 
towers rising above masses of trees against a sky partly cov- 
ered by clouds. 


Height, 30 inches; width, 26 inches. 
eby,. 


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No. 36 


MADAME L. E. VIGEE LE BRUN 
1755—1842 

, | 

H, of <a 


THE young lady in classical dress of a sleeveless deep blue, 7 
gold-embroidered tunic over a diaphanous garment is walking _ 


MADAME VESTRIS 


briskly along with her head inclined forward and turned over S| 


her left shoulder. Her brown hair is confined by two narrow 
red bands and a metal comb, fringes the forehead with short 
curls, and sweeps away behind the head with the rapid motion _ 


of the walk. She raises the folds of the tunic to her bosom with _ | 


her crossed hands, by this gesture giving further effect to the 


motion of the body. The only ornament, except those in the — q | 
hair, is a string of large coral beads around the neck. The fig- | 


ure is seen nearly half length, and is relieved against a back- 
ground of cloudy sky with a suggestion of sunset at the lower 
part. , 


Signed at the lower left, L. E. Vicir te Brun, 1804, & Londres. 


Height, 36 inches; width, 28% inches. 


Shown at the Exposition de Portraits de Femmes et d’ Enfants at Paris in 1897. 


a a 


No. 37 


CORNELIS JANSSEN 


1590—1655 


Cee Y, ff 
LADY SAMWELL) 9) 9 relopiniihk 


Tue head and shoulders of an English dame of the seven- 
teenth century, dressed in the formal fashion of the period, 
suggesting the contemporaneous Dutch costume. The head is 
in three-quarters view to the right, and is slightly raised, the 
wide-open eyes looking frankly toward the spectator. She 
wears a black dress trimmed with narrow black and white rib- 
bon, with a thin fichu over her bust and a fan-shaped lace ruff 
rising from her shoulders behind her head. There are pearls 
around her neck, in her ears and in her hair, which 1s dressed 
low and with studied simplicity. The portrait is in a painted 
oval. 


Signed at the lower right, C. J. recrt, 1625. 
Height, 31 inches; width, 2414 inches. 


From the collection of the late Wi111am Bourtuin, Esa., of Duston House, Northamp- 
tonshire. 


Faintly inscribed at the upper right, Jane Dav® Sm Henry Sxiewitu. Mar. Sik 


Wma. SAMWELL. oe : 
RS beeen 


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_No. 38 > 
(pee F vila Tae 


ANTOINE VESTIER i 


Ra 824 


re copvnanie 


PRINCESSE DE POLIGNAC 


Tue head and bust of a comely young lady with powdered, 
high-coiffured hair decorated with ribbons and flowers, a low- 
cut pale blue silk dress with lace ruffle around the shoulders 
and lace-trimmed sleeves. A miniature, hanging from a nar- — 
row black ribbon around the neck, rests against a white bow on — 
the bosom, just below a full-blown pink rose. The head isin 
three-quarters view to the left, and is lighted from the upper _ 
right. The dark eyes look directly at the spectator from under — 
symmetrically arched eyebrows. The background is a graded 
tone of invisible blue. The sitter was lady-in-waiting to Queen _ 
Marie Antoinette. \ 


Oval—height, 2734 inches; width, 22 inches. 


—— 
= 


No. 89 


SIR HENRY RAEBURN, B.A. vi 


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PORTRAIT OF A GENTLEMAN ~~ 


Tue head and shoulders of a vigorous gentleman of middle 
age, with gray hair and face clean shaven, except for small 
whiskers just below the temples. It is in three-quarters view to 
the left, the eyes looking directly toward the spectator, and is 
strongly lighted from the upper right. He wears a black coat 
_ with a high-standing, galloon-trimmed collar and a black silk 
_ stock. The head is probably a study for a larger and more im- 
_ portant portrait, and on that account remained in the family 
of the artist. 


Height, 2034 inches; width, 17 inches. 
From the collection of Cuartorre Rarzurn. 


Inscribed on the stretcher at the back, “Painted by my grandfather, Sm Henry 
RaEBurn. Vouched for by L. W. Rarsurn, 1876.” gis 


saa ik 
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No. 40 


JEAN MARC NATTIER 


1685—1 766 
OS CSechan 


~ 


/ 
MADAME DE ROISSY 


THE lady, dressed in a white satin gown cut low in the neck 4 


and with loose and ample elbow sleeves, leans gracefully with — 


folded hands on the rail of a stone balcony, her left arm rest- 
ing on the folds of a rich green curtain, which falls from the _ 
upper right. The figure is in three-quarters view to the right, 


and the head is slightly inclined in the same direction; the dark | 


eyes, suggestive of alert intelligence and sympathetic charac- 4 
ter, look calmly out of the picture. A delicate lace ruffle softens 


the edge of the satin around the bust, pale mauve ribbon bows | 
fasten the dress at the bosom and at the shoulders, and in the _ 


soft, powdered hair a string of pearls with a central pendant 
at the top is arranged over a pale blue ribbon. The delicate 


oval of the face, with the well-rounded throat and bust, is in — 4 


relief against a broken tone of green which harmonizes with 
the other accessories. 


Signed at the middle left, Narrrer prnxrt, 1754, 


Height, 32 inches; width, 2544 inches. 


HENRI HARPIGNIES 


1819— 


ed 


ae a ge e 


ie 


LANDSCAPE 


gree: 
a 


Two great sturdy trees rise from the irregular grassy bank of 
a stream against a blue sky, with here and there small luminous 
clouds. Beyond the trees is a view across a quiet river, in which 
are reflected the high, partly wooded shore and the cloud 
forms. The sunlight flickers on the foliage, touches the rough 
tree trunks, and here and there falls in glowing spots on the 
leaf-strewn grass. 


Signed at the lower left, Harpicniss, ’93. 


Height, 1814 inches; width, 15 inches. 


ining lanas 
SS ran at epee 


VE A ENA READE NEC SATS SRO GH CHAI CA PE de MAT is SLANT CANNOT OAM ON  eTA R  e 
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No. 42. 


JOHN HOPPNER, R.A. 


1758—1810 


LADY ST. ASAPH 


Tuis lady was Charlotte, the daughter of the Earl of Bever- is 
ley, and the wife of the Earl of Ashburton, Viscount St. 
Asaph, who was born in 1776, and died in 1862. She sat to . 
Hoppner as a young girl, and this portrait was exhibited at the 
Royal Academy 1 in 1795. She is seen to the waist only, in three- q 
quarters view to the left, the eyes turned in the same direction. 
A mass of fair hair falls over her ears and upon her shoulders. — 
She wears a soft felt hat with moderately wide brim and red a 
ostrich feathers, a blue dress with a tulle fichu over the shoul- — 
ders and a red sash. The background is foliage, with a glimpse 7 
of the sky throu et ue leaves on the left. ‘ 


i aay Height, 24 inches; width, 1934 inches 
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No. 43 ye 


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THOMAS GAINSBOROUGH, R.A. \% 


1727—1788 


CHARACTER SKETCH OF MRS. SIDDONS 


THis is a small study of the well-known actress, seated in an 
easy attitude. The figure is seen just below the waist. She rests 
her right elbow on the base of a large vase, holding her hand 
to her cheek, and her left arm hangs by her side. Her head, 
which is in three-quarters view to the left, is crowned hy a 
mass of powdered hair, dressed very high and ornamented by 
a purple satin ribbon. She wears a purple satin dress with full 
elbow sleeves over a thin white undergarment, and a thin pur- 
ple sash is draped around her shoulders and waist. 


Height, 14 inches; width, 11 inches. 


& 
A NUMBER of cattle are a a pool in the fore- 4 
ground at the hour of early sunset, when the sun has just dis- 
appeared behind a bank of clouds. On the left of the poola 
sturdy oak, with wide-spreading branches, rises against the — | 
sky in a dark, irregular mass, a prominent feature of the com- _| 
position. Beyond, across a flat meadow, shimmering in the | 
evening light, are cultivated slopes rising to a line of low hills | 
in the distance. The lower portion of the sky is covered by — 
masses of vapor, through which breaks the vivid light of the © 
setting sun, strongly reflected in the water of the pool, and, ‘ 
near the zenith, a few small clouds are accented by a war ¥ 


ruddy glow. .7 s” 


Signed at the lower right, Jutes Dupre. e oo n 


Height, 1814 inches; length, 29% inches. ; 


No, 45 
2. ye 
Waltte 
THOMAS GAINSBOROUGH, R.A. 


1727—1788 


PORTRAIT OF A LADY 


Tuis small portrait, said to be of Lady Augusta Campbell, 
shows the sitter nearly in profile to the right. Her soft light 
brown hair is dressed high and full, with a veil wound around 
the top and held by a slender gold chain. One curl falls upon 
her left shoulder and another upon her neck behind her ear. 
She wears a low-cut pink silk dress over a white bodice, and 
the line around the shoulders is softened by a narrow fichu of 
delicate gauze. The background is a graded tone of gray. 


Oval—height, 1144 inches; width, 94% inches. 
of 


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CHARLES FRAN COIS DAUBIGNY 


1817—1878 


LANDSCAPE 


THE motive of this picture was probably found on the River q 


Oise, which was the favorite sketching ground of the artist. 4 


The broad river flows out of the foreground on the left along 


a flat grassy meadow, where a washerwoman is busy at her 
task. Reeds and water plants grow in the shallows near the 
shore. Beyond the meadow and covering nearly half of thesky 
a rank of tall, slender trees extends from the right to the bank 
of the stream, which, gleaming in the sunlight, winds out of 


sight behind the point. On the left, in the middle distance, a 


freight barge is moored to the shore, and a few houses are scat- a 
tered along the low elevation which forms the horizon line. _ 
The sky is covered with a stratum of soft, hazy clouds, andthe 


surface of the water is broken by a multitude of reflections 
from the sky and the trees. 


Signed at the lower right, Davpieny, 1877. 
RINSE 


A Sans 15% inches; length, 22% inches. 


From the collection of A. De i 


N ck fe, 
ie 


Lay 


PAT OS ae ee 
ae WT ties i" 
ria sf t 

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> ¢ 2. No. Dh 
MLLE. JEANNE PHILIBERTE LEDOUX 


1767—1840 


PORTRAIT OF A YOUNG GIRL 


THE head and shoulders of a maiden with large blue eyes and 
_ soft brown hair bound with a black ribbon. She turns her back 
_ to the spectator, and looks over her left shoulder, the head 
_ being in three-quarters view to the left. She wears a light blue 
_ dress with gold braid on the short sleeve and a fur boa around 
her neck. Mile. Ledoux was a favorite pupil of Greuze, and 
_ followed her master’s methods so closely that she is often 
_ eredited with the authorship of portraits attributed to him. 


Height, 16 inches; width, 13 inches. 


‘ WM ( dad 


No. 48 


J. B. C. COROT 


1796—1874 ge 


NEAR VILLE D’AVRAY 


AN irregular open group of trees grow from the low bank of 
a river in the immediate foreground, and with twinkling foli- 
age hide the larger part of the soft summer sky. A black goat 
is a prominent foreground object, and farther away, under 
the trees, are two peasant women. Across the river, which on 
the right reflects the tones of the sky, is a red-roofed church 
with low, pointed tower and the suggestion of a village, and 
in the remote distance a line of hills forms the horizon. 


Signed at the lower left, Conor. f A © 


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Height, 19 inches; width, 15% inches. 4 


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HENRI HARPIGNIES 
1819 es | 
Souete’ lees 
SUNSET ON THE RIVER aie A 


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In the foreground is a rough pasture, where a shepherd 
watches his sheep feeding among the low bushes, and a long, 
irregular boulder crops out of the grass. In the middle distance 
a row of tall trees with dense foliage grows on the bank of a 
sheet of water, which reflects the warm colors of a sunset sky. 
Across the water a line of low wooded hills forms the horizon. 


Signed at the lower right, H. Harpicniss, 779. 


et Height, 13 inches; length, 17% inches. 


Ae oan Aaa ieee ease 


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THE HEART OF THE FOREST 


THE shadowy gloom of the forest interior is broken by flash- " 
ing sunlight, which strikes the great tree-trunks here and 


there, and discloses the havoc wrought by the elements on the i 


aged monarchs of the wood. Through an opening in the dense — 
growth of trees and bushes the eye wanders to the distance, 
where rounded tree-tops form the horizon line. Interlacing 
branches and masses of foliage cover the larger part of the — 
sky, which is obscured by clouds, except near the zenith, where — 
an intense but distant blue shows between the leaves. The 
rough ground is broken in the foreground by two small pools 


of water, and shows in the middle distance a broad passage of 
sunlight. 


Signed at the lower left, N. Diaz. Ba Awok ” Ne 


aS ay te ited Height, 164 inches; length, 2214 inches. — 
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No. 51 
Cin: mi 


NICOLAS DE LARGILLIERE 


1769—1830 


\4 ; _ pips iy 


Tue half-length figure of a gentleman in robes of great rich- 
ness and amplitude. The body is in profile to the right, and the 
head in three-quarters view, slightly raised, with the eyes look- 
ing toward the spectator. A full-bottomed wig with a mass of 
gray ringlets frames the face, and falls low over the shoulder 
upon the heavy folds of a rich red velvet cloak, which is gath- 
ered upon the raised arm, showing the elaborate pattern of a 
brocade lining and a rich surtout of similar material. Delicate 
white lace at neck and wrist adds the final touch of sumptu- 
ousness to the costume. The left hand is raised to the breast, 
and the right is extended with an easy gesture. The back- 
ground is a graded tone of warm gray, with a curtain of modi- 
fied red on the right. 


THE DUC DE PENTHIEVRE 


Height, 3634 inches; length, 39% inches. 


GEORGE ROMNEY, R.A. A 


1734—1802 4 pe 


LADY HAMILTON AS BACCHANTE 


Tus fascinating lady, who so often sat to the artist and 
inspired many of his greatest productions, is shown crowned __ 
with vine leaves, partly draped with soft, flowing stuffs, and 
with a background of sky and the sloping hillside of a park 
with a strip of sea on the horizon. The figure is seen to the 
waist only, and is in three-quarters view to the right, the head — { 
inclined toward her right shoulder and slightly thrown back, _ 
the eyes turned upward. Masses of waving, rich auburn hair 
frame the face and fall over the shoulders. With her left hand 
she gathers the soft folds of her drapery, and raises them to 
her bosom, across which falls a slightly diaphanous white 
scarf, and holds around her shoulders a mantle and a blue 
tunic. The arch expression of her eyes and mouth is empha- __ 
sized by the graceful turn of the head and by the skilful light- 
ing of the features. 


At Height, 30 inches; width, 25 inches. 
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No. 53 


JEAN MARC NATTIER 


4 Q ie 766 Abi | 


HENRIETTE DE BOURBON CONTI, 
DUCHESSE D’ORLEANS 


Tue half-length figure of a young lady, the body nearly in 
full face, and the head in three-quarters view to the left. She 
is dressed in a thin, white gauze dress with satin stripes, cut 
low in the neck, and with long, flowing sleeves, and around her 
waist and over her arms, which rest upon an earthen vase, is 
draped a changeable silk scarf. Her powdered hair is dressed 
moderately high, and is ornamented with delicate green sprays 
and small flowers. 'The loosely flowing dress is fastened at the 
bosom by a few small moss roses. The portrait is partly alle- 
gorical in scheme, for the pointed leaves of an aquatic plant 
partly conceal the mouth of the jar, from which a flood of 
water is pouring out, and others rise against the sky back- 
ground behind the figure. 


Height, 32 inches; width, 25% inches. 
From the collection of M. Gavet, Paris. ( 


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PORTRAIT OF A GENTLEMAN 


Tue sitter for this portrait was probably a man of repute for 
learning or for eminence in some profession, not only on ac-— 
count of the distinction of his type of face, but because the 
artist arranged the pose to show a large volume as a prominent _ 


accessory. He is dressed in a gray silk coat, with lace at the 4 
sleeves, and has a white lawn stock around his throat. His gray 


wig is carefully curled over each ear. The head, which is almost 
full view, leans slightly toward his left shoulder, and the eyes 


are turned in the opposite direction. The hands are clasped on 


the back of a large leather-covered tome, upon which the left q 
arm rests. A figured silk curtain, strongly lighted on the right, a 
forms the background. i 


Height, 29% inches; width, 25 inches. 


From the collection of CotonrL Hankey, Beaulieu, France. 


No. 55 


SIR PETER LELY . © 
1617—1680 WY. /prklrarnne 
“Hf, Arn Dab he 
MR. LENEVE, ALDERMAN OF NORWICH 


Horace WA.xpPotrgs, in his “ Anecdotes of Painting,” mentions 
this work as one of four remarkable male portraits painted by 
Sir Peter, and says of it:“. . . a half-length of our Al- 
_ derman Leneve in his habit, one of the finest portraits I ever 
saw, the hand is exquisitely well painted.’ The refined face 
and the delicately shaped hand show the gentleman to be a man 
of breeding and worth, Dressed in his plain but rich robes of 
black trimmed with fur, he leans with dignified grace against 
the base of a column, his right hand resting upon the broad 
fur bands of his sleeved cloak, and the left, in a rich gauntlet 
glove, hanging down against the hip. Long wavy hair, with a 
touch of gray in it, falls upon the broad collar of fine linen, 
and a few locks stray over the broad, high forehead. The fig- 
ure is in three-quarters view to the left, and the eyes, express- 
ing with the tightly closed mouth a firm but kindly character, 
look slightly downward toward the spectator, A dull red cur- 
tain falls in rich folds on the left of the figure. 


Height, 491% inches; width, 3934 inches. 
Sold at the Strawberry Hill Sale, 1842. (Twenty-first day’s sale.) 


Shown at the Exhibition of British National Portraits, Burlington 1, 1883. 


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No..56 AY Ip Llane | 
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GEORGE ROMNEY, Ge 


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PORTRAIT OF MISS LOCKWOOD 


1734—1802 


Tuis dignified and handsome young lady sits with clasped ‘ 
hands, leaning slightly upon her right elbow. Her head is in 
three-quarters view to the right, and is crowned by a mass of — 
powdered hair, tied with a broad pink ribbon. Her dress is of 


white silk with tight sleeves, and a broad collar with ruffled ~ 


edge falling over her shoulders and bust, which are further ~ 
covered by a tulle fichu. The bodice is fastened by a broad ~ 
lacing of red ribbon between two rows of large buttons. The ~ 
background is sky covered with clouds, with a suggestion of 


a sunset glow on the right. The sitter, Matilda, daughter of : 
John Lockwood, Esq., of Ashstead, Surrey, married Henry ‘ 
Calveley Cotton, Esq., and the portrait was, until recently, 


the property of her son, the late Major-General Cotton, R.E. 


It was shown in the Grafton a in the spring and GC aalh 4 


exhibitions of 1900. sh ay 
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tn, 4 Oe Height, 30 inches; width, 25 inches. 


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SIR GODFREY KNELLER 


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1648—1743 


THE DUCHESS OF RUTLAND 


THE lady, stately in pose and aristocratic in type, sits on a 
bench, resting her left hand on the folds of a blue silk mantle, 
with a broad trimming of pearls and embroidery, which is 
raised to her waist by her right hand, and fastened to her right 
shoulder by a knot of blue ribbon. Her red silk gown is cut low 
in the neck, falls in ample folds over the knees and is slashed 
at the upper arm, where it is fastened by pearls over the full, 
white elbow sleeves of an undergarment. The head is in three- 
quarters view to the right, the eyes turned toward the specta- 
tor, and the rich brown hair is dressed high and falls over the 
shoulders in long curls. The figure is in strong relief against 
a background of foliage, and on the right is a glimpse of 
sunset sky over a mountainous country with a bit of the sea 
beyond. 


Height, 48 inches; saat «Bi inches. 


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ANTON MAUVE 


1838—1888 


HOLLAND MEADOWS § ¢ AA/ 4 : 


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Tuis picture, which remained for a long time in the her of 
the artist, and was considered by him to be one of his best pro- 
ductions, shows a characteristic scene in the broad plain of 
Holland under a moist sky full of low-hanging summer 
clouds. In the foreground a group of spotted cows reposes in 
the sunlight after a morning’s browse on the rich grass of the 
meadow. In the middle distance on the left is a clump of trees 
overhanging the entrance to a pasture beyond. The wide, level 
meadow which stretches away to a low horizon in the extreme 
distance is dotted with cattle, and among the trees on the sky 
line on the right are suggestions of a tree-shaded village. 


Signed at the lower right, A. MAvvE PT. 


Height, 3414 inches; length, 54 inches. 


No. 59 


SIR GODFREY KNELLER 


tea ic ae. 
THE COUNTESS OF HALIFAX 

byenas eo 
THE stately lady, of simple taste in dress, stands with one 
* hand resting on a large carved stone basin, and the other, 
which holds a blue scarf, hanging by her side. The head is in 
three-quarters view to the left, and is inclined in the same di- 
rection, the eyes turned slightly downward and toward the 
spectator. She is dressed in a simply cut warm gray silk 
jacket, with elbow sleeves over a white chemise, and a full 
white silk skirt. Her coiffure is as simple as her dress, and one 
curl only is allowed to stray out upon the shoulder. In the 
background there is a wide vista over a mountainous country, 
with a walled enclosure with gateways and turrets and a sun- 
set sky beyond the distant summits. The upper part of the 
figure is in strong relief against dark-toned clouds. 


Height, 50 inches; width, 40% inches. 


Inscribed at the lower right, Countess or Haxirax, below a coronet. 


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SIR THOMAS LAWRENCE, P.R.A. 


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i owe" 769—1880 
Tae 


THE DUCHESS OF BUCKINGHAM 


Tuis half-length portrait shows the duchess seated on a sofa, 
with her right elbow resting on a semicircular table, and hold- 
ing in her upraised hand the end of a red silk scarf, which is 
draped around her waist and over her lap, where it is held in 
turn by her right hand. Her white silk, short-waisted dress has 
lace around the bust and the arms, where it is enriched by a 
jewelled ornament and armlets, which are echoed in the ear- 
rings and a rich chain around her hair. The head, with brown 
ringlets falling over the temples, is relieved against the simple 
tone of a column, beyond which are seen the branches of a tree 
against the sky, and, below, a glimpse of a pleasant wooded 
landscape. The figure, which is poised with unconscious grace, 
is in a strong light from the upper right, and the shadows, 
particularly on the face and neck, are full of luminous reflec- 
tions. 


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f ‘ vs Height, 50 inches; width, 40 inches. 


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This portrait hung in the State Drawing-room of Stowe House. yh pe 
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No. 61 


SIR PETER LELY 


161 a 


DUKES OF CUMBERLAND AND BAVARIA 


Tue two high-bred, fair-haired Pk within two or three 
years of the same age, are grouped together in attitudes of 
elegant ease. The elder and taller, on the left, stands squarely 
to the front, his head turned to the left and the eyes following 
the same direction. A full mantle of yellow-brown silk is 
thrown over his left shoulder and around the body, and is held 
by the extended right hand. The left elbow rests upon a waist- 
high table or pedestal, and the hand falls gracefully from the 
wrist. The younger brother is dressed in white silk, with a blue 
cloak thrown over his shoulder, from beneath the folds of 
which projects a gold-hilted sword. He stands three-quarters 
back to the spectator, with his head nearly in profile turned 
over the left shoulder. The background is an indefinite mellow 
tone of brown, and throws the flesh and the rich colors of the 
drapery into agreeable contrast and strong relief. 


Height, 52 inches; width, 45 inches. 


From the collection of Pore Ursan VIII. In 1811 this collection was divided 
between the sons of the Princess CorNELIA DE BABBERINI DE COLONNA DE 
Scrarra. This portrait belonged to the present Prince ve Scrarra, from whom 


it was purchased. 
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ar ee a MARC NATTIER 


1685—1766° 
auth A naan At, Sat Skye 


THE COMTESSE D’ARGENSON 


Tue half-length, seated figure of a lady in the flush of youth 
and beauty, the wife of the Comte d’Argenson, Minister of _ 

War under Louis XV. and Ambassador to Poland. She sits 
on a couch with her left elbow resting on the arm and the left _ 
hand holding a pink ribbon, with which she is about to adorn 
the neck of her pet dog, which crouches in her lap, confidingly _ 
resting one paw on the lady’s wrist. She wears a loose white 
satin décolleté robe with full elbow sleeves, bound to. the arm 
and to the waist by ropes of pearls. A broad mantle of blue 
velvet lined with ermine is draped over her left shoulder and 
across her lap. The head, with its simple but becoming coiffure __ 
of powdered hair, is in three-quarters view to the left, and in- 
clined toward her right shoulder, the eyes turned still farther 
away. A strong light falls from the upper left, throwing a 
deep but luminous shadow upon her cheek and neck and strik- 
ing full upon the well-rounded shoulders and bust. The sump- 
tuousness of the figure is enhanced by a background of a 


simple tone of gray. | 1 
flav ye ; . 


Signed at the left, Navrier px., 1750. 


Height, 40 inches; width, 3154 inches. 
i EEE opm ame san al gh PSP NE eR 
From the collection of the Comtesse pE LA Morte at the hain de Meslay, near 
Falaise, France. 


No. 63 x¢- eck 
Pn. Aunl-ret— 


1756—1823 


PORTRAIT OF MISS MACARTNEY 


THE young lady in walking costume is seated on a rustic 
bench in a well-wooded park, her left elbow resting on the 
arm of the seat and her gloved right hand resting in her lap. 
The head is in three-quarters view to the left, and the body is 
turned in the opposite direction, with the knees somewhat 
raised. She wears a broad black hat with white feather, a 
white, long-sleeved muslin gown with a tulle fichu across the 
_ bust and a deep blue silk sash around the waist. Her pow- 
dered hair falls in wavy lines over her ears and in curls down 
her back, and the well-formed but strongly marked features 
show the sitter to have been a lady of decided character of 
mind as well as of beauty of person. Trees with interlacing 
branches nearly cover the sky in the background, and the fig- 
ure is in strong contrast with the deep tones of the foliage. 


Ah a Height, 50 inches; width, 40 inches. 
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STIR HENRY RAEBURN, R.A. Vibes ‘ 


No. 64 a a 


SIR JOSHUA REYNOLDS, P.R.A. 


MRS. ne NEE CHALONER 


Tue head and shoulders of a distinguished-looking lady in a 


three-quarters view to the left, the shoulders slightly turned 


in the opposite direction. Her gray, powdered hair, which 


is arranged high, with curls falling upon either shoulder, is 
crowned by a turban-like arrangement of gold-edged gauze. 


Her dress, which is draped in the semi-classical style so often — , 


painted by Sir Joshua, is of white with a gold border at the 
bust, the sleeves and the waist, and is cut off at the lower part 
by the lines of an oval. The light falls strongly from the 


upper left, casting a luminous shadow upon the left cheek and 


the neck. 


Height, 2934 inches; width, 25 inches. 


This portrait was painted in 1764, and the lady sat for the artist as a model for 
Huphrosyne in his picture ‘ L’ Allegro.” . 


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No. 65 


1617—1680 


THE COUNTESS OF CARLISLE 


TueE lady stands near a large marble vase beside a fountain 
and plucks with her right hand a rose, while the left rests on 
the lip of the vase. The head and the figure are in three-quar- 
sleeves and full skirt. She wears pearls in her ears, around the 
ters view to the left, the eyes turned toward the spectator. 
Long ringlets of dark brown hair fall over the ears and upon 
the shoulders, a broad yellow scarf is draped around the bust, 
contrasting vigorously with a mauve silk gown with wide 
neck and in the hair, a jewelled clasp confines the loose white 
intersleeve, and an amethyst brooch fastens the scarf to the 
shoulder. The head is relieved against a ledge of rock, which 
partly covers the sky in the background, and, on the right, the 
tower of a castle shows among the trees. 


Height, 441% inches; width, 35% inches. 


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2 ‘ No. 66 leo coma 
/ 3 SIR HENRY RAEBURN, R.A. 

| A ih 2 , 1756—1823 

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THE DUKE OF PORTLAND 


THE half-length standing figure of a young man in ruiliterga a 
costume of red coat with black facings, trimmed with silver, 
white flap waistcoat and breeches, holding a cocked hat in his 
gloved left hand, which rests on a malacca stick and supports 
the right hand, which clasps the wrist. A sword hangs by his 
side. The figure is in three-quarters view facing the left, and — 
the eyes are turned toward the spectator. The head shows in — 
vigorous contrast against a conventionalized landscape back- — 
ground, and the strength of the flesh tones is further increased _ 
by a white linen stock around the neck. The light f alls strongly 4 
from the upper right. * 


Height, 44 inches; width, 33% inches. 


— 


No. 67 


ADRIAN HANNEMAN 


HENRIETTA, DUCHESS OF' ORLEANS 


A HALF-LENGTH figure in three-quarters view to the left, the 
right hand raised to the bodice and the left elbow resting on 
a rock, which forms part of the conventionalized landscape 
background. The dress is of yellow silk with full and open el- 
bow sleeves, showing a soft undergarment and an ample flow- 
ing skirt gathered to a stiff low-cut bodice. A thin scarf of 
blue silk is draped gracefully across the bust and around the 
shoulders, and is attached to the bodice at the bosom and 
_ shoulder by jewelled brooches. The long oval of the lady’s 
face is framed by dark hair, dressed close to the head with 
carefully arranged ringlets. Large pearl ear pendants and a 
double necklace of the same jewels contrast agreeably with 
the warm tone of the flesh. The head and shoulders are re- 
lieved against foliage, and in the lower left is seen a chateau 
in a pleasant open landscape. ae 
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Dated at the lower right, as AAP 
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\C ; Y Height, 4414 inches; width, 4414 inches. 
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No. 68 /“7tto & 


NICOLAS DE LARGILLIERE 


1656—1746 


THE MARQUISE DE LAFAYETTE 


SEATED on a carved and gilded throne chair in an attitude of © 
commanding dignity and grace, the lady rests her right elbow — 
on a stone pedestal, and holds with her left hand a tiny lap- — 
dog. Her white satin robe shimmers with rich gold embroid- _ 
ery, and an ample cloak of blue velvet lined with figured bro- 
cade is draped over the pedestal and the chair and partly — 
across her lap. Behind the upper part of the figure in the back- 
ground a deep mauve curtain is draped in tortuous folds, as — 
if blown aside by the wind, and in the upper right a small area — 3 
of sky is visible. Her head is in three-quarters view to the left, — 
and the hair, which is dressed moderately high, falls in large — 
curls upon either shoulder and is ornamented by a bunch of 


blue and black ostrich feathers. 


Height, 57 inches; width, 47% inches. 


From the collection of Baron pE Rarncovrt. 


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MPN apne TIONS GRAS OTR OEE, 
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No. 69 a a 
vs: ALtt RhueZ 


MADAME L. E. VIGEE LE BRUN if 


1755—1842 t if ‘O QO 


THE MARQUISE DE SAFFRAY 


_ THE petite, slender lady leans gracefully on her harp, her left 
hand lightly touching the strings and the right resting on the 
scroll of the frame. The figure is full length and in profile, 
_ but the head is in three-quarters view to the left, slightly in- 
clined downwards, with the eyes looking toward the specta- 
_ tor. Her hair is powdered and dressed high in formal curls, 
which are confined by two fillets of pale blue ribbon. She wears 
_a gown of blue and white striped silk over a bodice and skirt 
_ of white satin, with a thin scarf thrown across her shoulders. 
_In the background are seen a table draped with red, holding 
_ sheets of music and a classical-shaped jar, and, beyond, a pan- 
eled wall with a fluted pilaster. 


Height, 76 inches; width, 51% inches. 


From the collection of the late Marquis bE Sarrray, in whose family it remained 
until his death. ' 


Louw ery | yy Le i ty olin 
(See Frontispiece) | 


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No. 70 


SIR JOSHUA REYNOLDS, P.R.A. 


1723—1 a. (B- oe | 


SIR PATRICK BLAKE, BART. 


THE full-length, life-sized figure of the gentleman in spon q 
ing o costume, ‘consisting of red coat with blue collar, cuffs and — 


revers, white flap waistcoat, breeches and stockings, a cocked — 


hat trimmed with gold galloon, and low shoes with gold — 
buckles. He rests his weight on his right leg, and turns his — 
head, which is in three-quarters view, over his left shoulder. — 
He is about to remove the hood from the head of a falcon ~ 
which perches on his gloved left hand and spreads its wings, — 


eager for flight. An extensive landscape forms the back- _ 


ground, with a large tree on the left, rising out of the picture, — 4 


and a wide vista across a pleasant vale to distant mountains — 


under a sky filled with gray clouds. The figure is placed well — 
on the left of the canvas, with a generous space above the head ~ 
and below the feet. The light falls strongly from the upper — 
left, throwing the head and right hand into vigorous relief — 
against the background and accentuating the folds of the 
drapery. 4 


Height, 94 inches; width, 58% inches. 


Mentioned in Armstrone’s “ Reynolds.” 


ANTIQUE FURNITURE 
ORIENTAL RUGS 


ETCHINGS, ENGRAVINGS 
AND 
WATER COLORS 


SALE FRIDAY AFTERNOON 


MARCH 38ilst, 1905 
AT THE AMERICAN ART GALLERIES 


BEGINNING PROMPTLY AT 2.30 o’cLOCK 


ANTIQUE FURNITURE 


T1—WILLARD CLOCK 


Known as the “ Banjo Clock.” Mahogany frame, with gilt and 
brass ornamentation; plain rectangular glass in base. 


72—BELLOWS 


__ Large pair of brass-mounted bellows covered with Spanish leather. 


48—STATUETTE 


Antique Italian. Figure of the Virgin holding the Infant, and 
standing on a cherub head, with drapery. It is of boxwood, and 
stands on a carved and gilded wooden base. 


74—_STATUETTE 


French. Bronze statuette of Napoleon as First Consul, holding 
in his left hand a roll of paper, his right hanging by his side. 
The base is decorated with three wreaths of oak leaves and 
mouldings in ormolu. 


| 
I 
| 


15—LANTERN ; 
Antique Italian. Frame of carved and gilded wood, with four 3 
glass panels. 4 


76—-LOUIS XV. TABLE 


Four cabriole legs ; serpentine top. Ormolu ornaments on feet and 4 
upper angles of legs and at corners of top, which has an edge of — : 
ormolu moulding, and is covered with leather. Two small drawers ' 
in front. Veneered with mahogany. q 


TI—MAHOGANY TOILET TABLE 


Heppelwhite. Two drawers on either side supported on square 
bracketed legs. Two flap lids on top, covering dressing-glass and a 
various compartments for toilet articles. Inlaid with tulipwood 
bands and holly lines and marqueterie. Oval repoussé brass a 
mounts, with oval drop handles. 


78—TOILET COMMODE 


Heppelwhite. Mahogany, on straight, square legs. The top opens _ 
with two lids, and has various compartments for toilet articles. 
Below is a cupboard with two doors and two drawers underneath. 
The whole is ornamented with tulipwood bands and holly lines. 


19—MAHOGANY LOWBOY 


Chippendale. Four cabriole legs with clawfeet, fluted corners and 
three long drawers with brass mounts. 


80—MAHOGANY CHEST OF DRAWERS 


Heppelwhite. Rectangular, on simple legs. Four long drawers, 
with tulipwood bands and holly lines. Oval repoussé brass mounts, 
with oval drop handles. 


81—MAHOGANY DRESSING-GLASS 


Heppelwhite. Rectangular bevelled-edge glass, with plain stand- 
ards on serpentine base. Three drawers; six brass clawfeet. Satin- 


wood bands, and ebony and holly lines. 


82—MAHOGANY CHEST OF DRAWERS 


Heppelwhite. Has four drawers, bead moulding on drawers and 
drop leaf handles; delicate border of holly; top and front of 
drawers of ebony and other woods. 


83—PEMBROKE TABLE 
i] - Heppelwhite. Mahogany, with single drawer. Enriched with 


painted decoration, having two circular brass mounts on either 
end. On each leaf is a pastoral scene of two figures in a square 
panel with scroll-work and medallions, and on the top a circular 

panel with a classical composition surrounded by four trophies 
of musical instruments. 


84—WORK TABLE 


Heppelwhite. Mahogany, with double-lid top and one swing leg. 
Small drawer in front, and various compartments in the top. 
Fluted legs; sides and top ornamented with marqueterie bands. 


85—OCCASIONAL TABLE 


Sheraton. Oval top veneered with satinwood and decorated with 
tulipwood bands and marqueterie wreath. Turned standard and ; 
tripod legs. 


86—HEPPELWHITE WRITING DESK 


Mahogany with tulipwood bands and holly lines. Oval brass a 
mounts with drop handles. Four drawers and drop lid. Painted — 3 
ornamentation on drawer fronts, and painted oval panel on lid — 
representing classical maiden with two children in a landscape. _ 


87—_SERVING BUFFET 


Heppelwhite. Mahogany, with cupboard and two drawers, and a a 
lid on top which, when raised, shows four hinged shelves and a 4 | 
pewter fountain over a pewter basin between two extending k 
hinged leaves. Ornamented with designs and lines in marqueterie. 
Ornamental brass mounts. 


88—SHERATON SERVING TABLE 


Mahogany, with serpentine front; four round, fluted legs and a 
solid top with moulded edge. Decorated with four small and one 
large panel in marqueterie on front, and with holly and ebony ; | 
lines. ; 


_89—CARD TABLE 


Heppelwhite. Four straight taper legs veneered with rosewood. ; 
Oval top, covered with baize, half to open. Top veneered with — 
satinwood and rosewood with tulipwood band on edge. | 


90—ADAMS TABLE 


Four turned and fluted taper legs. Top veneered with satinwood 
and bands of rosewood and tulipwood in geometrical pattern. 
Central panel with painted vase of flowers; legs and rail painted 
blue and white, with decorated panels. 


From the collection of Lorn Norru. 


91—_COLONIAL HIGHBOY 


Mahogany, with slender cabriole legs. Top with fluted corners | 
and a curved pediment with three brass finials. Four drawers in 
base and five in top. Date, 1760. | 


92—OLD ENGLISH HIGHBOY 
Mahogany, Georgian Period. 


93—OAK CHEST 


English. Three inlaid panels in front and four panels in lid. 
Marked “ E. S. 1660.” 


94— PEMBROKE TABLE 


Sheraton. Two leaves, curved legs and turned stretcher. One 
drawer in front. Double lines of holly around top and single ones 
on legs. Pearwood squares with inlaid ornament of boxwood in 
corners of top. 


95—OCCASIONAL TABLE 


Heppelwhite. Octagonal top, with one drawer. Square, taper legs, 
with plain, crossed stretcher supporting oval panel. The whole 
veneered with satinwood with rosewood bands and marqueterie 


ornamentation. 


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Brat A => 
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96—LOUIS XV. WORK TABLE 4 


Kidney shaped, with four modified cabriole legs and a shelf at q 
bottom. One drawer with compartments. Veneered with various — 
woods and marqueterie in block design. 3 


97—HALL CLOCK 


English. Oak, with bands and veneered with mahogany. Scroll 3 
pediment with brass eagles and balls. Silver-plated dial signed 
“ Thos. Radford, Leeds.” 


98—PAIR CORNER CABINETS 


Heppelwhite. Serpentine fronts, with two spade legs and pivoted 
door. Panels on front and top, veneered with satinwood, with 
tulipwood and rosewood bands and designs in. marqueterie on 
green ovals. 


99—SATIN WOOD CABINET 


Sheraton. Low form; top has delicately inlaid border of holly; 
ebony and rosewood fluted legs; glass door in front with geo- 
metric tracery; front oval panels with holly and ebony border. 
Has one drawer. 


100—TWO GILT CHAIRS 


Frames of carved and gilded wood. Round front legs; open ir- 
regular oval backs in style of Louis XV. 


101—_VAN DYCK VALANCE 
Old Italian. Gold appliqué on red silk damask. Eight points. 


102—VAN DYCK VALANCE. 
Old Italian. Ten points; gold appliqué on red silk damask. 


103—ITALIAN POINT VALANCE 


Twelve points. Similar to the preceding. 


104—ITALIAN POINT VALANCE 


Two points, with tassels. 


105—GENOESE TABLE COVER 


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Red velvet, with gold appliqué trimming. 


it 
106—SIX CHIPPENDALE CHAIRS | 


Made of San Domingo mahogany; plain legs and stretchers. 
Backs carved with frilled “*C” decoration, stopped flutes and 
other designs. Upholstered in green velours. 


Oe eee 


107—SITX MARQUETERIE CHAIRS 


Queen Anne. Ash frames, partly veneered with mahogany and 
profusely decorated with marqueterie in various-colored woods. 


_ Have cabriole legs and backs, and are upholstered in green 
ribbed velvet. 


108—SIX SHERATON CANE SEAT CHAIRS 


Classical-shaped legs. Frame veneered with satinwood and orna- 
mented with black lines at angles and with painted trellis and 
vase of flowers on back. 


109—FOURFOLD SCREEN 


Frame of carved and gilded wood in the style of Louis XIV. en- 


closing panels of rose pink brocatelle. Arranged to use as two 
screens. 


110—OLD ENGLISH CANTERBURY SOFA 


Lettered in old English. The frame is of carved bird’s-eye maple. 4 
It has a loose cushion and two pillars upholstered in green ribbed 
velvet. ; 


111—PEMBROKE TABLE 


Sheraton. Two leaves with rounded corners; one drawer. Veneered 
with satinwood, with tulipwood band on edge of top, which is — 
further decorated by a painted band and lines, and a shepherdess _ 
and sheep in an oval panel with scroll-work and ribbons. Painted 
flowers and scroll-work also on legs and ends. 


112—MAHOGANY CHEST OF DRAWERS 


Heppelwhite. Swell front, with two large and two small drawers, 
having wooden knobs with brass inlaid ornaments. A zigzag 


band of ebony in holly lines around top, and bands of mahogany ~ P ‘ 


around the drawer fronts. 


1183—TOILET GLASS 


Sheraton. Rectangular bevelled glass, with central ornament of 
tulipwood with brass finial. Turned supports resting on a swell 
front base on four ivory balls, having three drawers with circular 
ornamental brass knobs. 


114—STX QUEEN ANNE CHAIRS 


Cabriole legs, high backs, loose seats upholstered in red velvet. 
Frame decorated with elaborate designs in marqueterie of differ- 
ent-colored woods, showing a bouquet of roses on the panel of 


the back. 


115—_SATINWOOD CABINET 


Heppelwhite, with three small drawers on either side of a cup- 
board, a long drawer on top and above it a sliding board with 
ivory knobs. Oval veneer panels on drawer fronts with ebony 
line. Rosewood band with ebony and holly lines on top. Oval silver 
mounts with oval drop handles. 


116—HEPPELWHITE SIDE TABLE 


Heppelwhite. Star top veneered with satinwood and rosewood, 
with ebony and holly lines and edge with alternate upright bands 
of ebony and satinwood. Four taper legs, with ebony lines. 


117—LOUIS XV. CORNER CABINET 


Marqueterie veneer, with swell front and marble top. Has brass 
mounts. 


118—TWO MARQUETERIE CHAIRS 


Queen Anne. Ash frames veneered with mahogany. Have cabriole 
legs and back; decorated floral designs in marqueterie of various 
~~ colored woods. Upholstered in dark red velours. 


119—CHEST OF DRAWERS 


Heppelwhite. Satinwood, with four drawers and shelf, serpentine 
base and flare legs. Inlaid on top and ends with broad band of 
gnarled mahogany, and around draw fronts with tulipwood and 
ebony lines. Circular brass mounts with semicircular drop handles. 


120—DRESSING-GLASS 


Heppelwhite. Satinwood, with oval swing glass on scroll supports, 
and three drawers in base. Ebony inlaid line around glass drawer 
fronts and base. 


121—_WRITING DESK 


Satinwood. On taper legs, with three drawers in front, and three 
compartments for writing materials on top, each with curved 
lid, lock and key. Surfaces decorated with narrow bands of rose- 
wood, ebony and boxwood lines. Drawer fronts and lids orna- 


mented with marqueterie. 


122—CHEST OF DRAWERS 


Heppelwhite. Satinwood. Small front, with three drawers and 
turned legs. Rosewood bands on corners and around top; lines on 
draw fronts and beads around drawers. Circular brass mounts 


with ring drop handles. 


123—WRITING TABLE 


Sheraton. Satinwood, on curved and crossed fluted legs, with 
turned stretcher. Legs painted black, and tops and other orna- 
mental details gilded. One drawer in front, and one on either end. 

Ratchet board and two flaps covered with baize. | 


124—DRESSING-GLASS 


Heppelwhite. Satinwood, with rectangular bevel-edged glass, 
with turned standards on serpentine base. Three drawers and 
six brass clawfeet. Base, standards and panes of glass elaborately 
decorated with painted flowers, scroll-work and other designs. 


125—DRESSING TABLE 


Sheraton. Veneered with satinwood, and decorated with tulipwood 
bands. Top opens with two lids, and interior contains dressing- 
glass and various compartments for toilet articles. Circular brass 
mounts; straight legs with openwork brackets at top. 


126—PEDESTAL WORKBOX 


Heppelwhite. Rectangular, with arched top to open, and one 
drawer; on four square taper legs, with carved and crossed 
stretcher. Veneered with pearwood, with satinwood bands. Mar- 
queterie scroll-work on ends and sides, and a basket of flowers in 
an oval panel on top. 


127—BRACKET CLOCK 
Heppelwhite. Mahogany, with arched top with brass handle, 


four brass feet, brass trellises at sides. Plain silver face. 1780- 


1800. 


128—LOUIS XVI. CHANDELIER 


Twelve branches in four groups of three lights, with crystal 
balls, pendants and pinnacles. 


129—LOUIS XVI. CHANDELIER 


Same as preceding. 


130—PAIR LOUIS XVI. CANDELABRA 


Ormolu standards on open triangular bases supporting nine 
lights, the whole hung with cut-glass pendants and surmounted 
by a finial of same material. 


1381—ELABORATE LOUIS XVI. CHANDELIER 
Twenty-two branches, with crystal pendants and chains. 


182—VENETIAN TABLE 


Carved ornamentation. 


188—OLD ENGLISH WARDROBE 


Mahogany, with hanging cupboard on either side of projecting 
central portion, which contains two large and two small drawers, 
and a cupboard with five sliding trays. Narrow kingwood bands 
and boxwood lines around drawer fronts and panels. Simple 
cornice and plain base. 


134—OLD ENGLISH WARDROBE 


Mahogany, with hanging cupboards on either side of a cup- 
board with trays over two large and two small drawers. A mar- 
queterie urn in an oval panel in each door, and narrow satin- 
wood bands around drawer fronts and doors. Plain base and 
simple cornice. 


1385—PAIR FOUR-POST BEDSTEADS 


Sheraton. Mahogany, with four carved and receded posts and 
carved scroll top headboards with drapery decoration in two 


panels. Brass mounts and white dimity hangings, with white silk 


sunburst in top. 


136—LOUIS XV. HARP 


Painted black, with carved and gilded ornaments. Front with 
wreaths and other designs painted in colors. 


137—_COMMODE 


Louis XVI. Four cabriole legs, two deep drawers, Sienna marble 
top. Veneered with rosewood bands and geometric design in vari- 
ous woods. Circular ormolu mounts and ornaments on front cor- 
ners and feet. 


From the collection of Sim Witt1am Cun.iFre Brooxs, London. 


— a 


a ee ee eee ee 


138—_COMMODE 


Louis XVI. Veneered with satinwood in panels and pearwood 
and rosewood in bands. Block front and chamfered corners with 
spade legs. Three drawers, the two lower ones paneled as one, 
with marqueterie design in an oval panel between them. Circular 
brass mounts with drop handles. Gray marble top. 


1389—BEAUVAIS STOOL 


- Walnut frame, cabriole legs and hoof feet. Frame richly carved. 
Upholstered in Beauvais tapestry. 


140—HIGHBOY 
Mahogany. Georgian period. 


~141—COLONIAL BLOCK FRONT DESK 


Mahogany, with four drawers and drop lid, various pigeon-holes 
= and small drawers. Brass mounts with drop handles. 


142—CONSOLE TABLE 


Louis XV. Elaborately carved, gilded scroll legs, rail and 
stretcher. Top of Sienna marble, with moulded edge. 


148—LOUIS XV. CONSOLE TABLE 


Elaborately carved, gilded scroll legs. Top of Sienna marble 
with moulded edge. 


144—PAIR LOUIS XVI. CONSOLES AND MIRRORS 


The consoles of semicircular shape, on four taper legs. Frames 
of carved and gilded wood and the tops of white marble with 
beaded edge. The mirrors are upright rectangular glass in flat — 
frames of carved and gilded wood; above the mirrors are oblong 
octagonal panels with a painted monochrome decoration on can- 
vas representing three cupids. 


145—LOUIS XV. DRAWING-ROOM TABLE 


Oblong serpentine top, four cabriole legs with ormolu angles, 
feet, ornaments, moulding and border around the top. Deep 
drawer in front; hinged top veneered inside with rosewood 
around a toilet glass panel, and with a tray for toilet articles. 


146—LOUIS XV. SOFA 


Frame of richly carved and gilded wood, four legs with twisted 
reed ornament, high arms and back with flowers in high relief. 
Upholstered in striped damask; loose cushion. 


147—LOUIS XVI. ARM-CHAIR 


Frame of richly carved and gilded wood. Upholstered in antique 
red velvet, with appliqué ornamentation in green brocade, silk 
and galloon. 


148—HEPPELWHITE SECRETARY 


Satinwood. Base with two hinged doors, single drawer and desk 
with drop lid. Top with pediment and two glass doors, with knot 
trellis over bookcase with three shelves. Whole decorated with 
designs in marqueterie, tulipwood bands and holly lines. 


149—_QUEEN ANNE SECRETARY BOOKCASE 


Veneered with walnut on oak, and decorated with flower and 
leaf designs in marqueterie. Bombé base, with three large and two 
small drawers. Drop lid over writing desk, with various pigeon- 
holes and drawers. Book-case above, with two pivoted glass doors. 
Two large clawfeet and carved ornament around base, doors and 
pediment with three large and four small medallions. Circular 
brass mounts. 


150—HEPPELWHITE CABINET BOOKCASE 


Satinwood. Base with three cupbeards and three drawers with 
circular white metal mounts. Top with bookcase in three divis- 
ions, each with hinged door and oval glass panel with geometric 
trellis. The whole veneered with satinwood, with mahogany and 
marqueterie bands. (See illustration.) 


151—SIDEBOARD 


Sheraton. Mahogany, with six fluted legs and high back with 
pediment, two shelves and oval mirror. Panels in back and in 
middle drawer front inlaid with designs in marqueterie; tulipwood 

bands around drawer front; legs carved and fluted. Five drawers 
and four cupboards. 


152—LOUIS XIV. SOFA 


Beechwood frame, with eight carved legs, scroll stretchers and 
arms. High back and broad seat. Upholstered in yellow damask 
with appliqué design in blue cut velvet and gray silk galloon. 


153—SILX LOUIS XIV. ARM-CHAIRS 


Set of six similar to the preceding. 


154—FOUR SOFA PILLOWS 


Covered with red brocatelle, with diamond in old galloon and 
central ornament in bullion. 


155—PAIR COLUMNS 


Italian Renaissance. Solid wood, twisted, with fluting below and 
vine decoration in high relief above, gold on white. Gilded bases — 
and capitals. 


156—PAIR OF CORINTHIAN PILASTERS 
Richly carved capitals. 


157—PAIR URNS 


Antique Italian. Carved and gilded wood, with twisted snake 
handles. Pedestals of carved, gilded and ihe wood, top sup- 
ported by four cherubim. 


158—BOOKCASE 


Sheraton. Low bookcase on four turned and tapering fluted legs 
rising to the corners of the top. Glass front with geometrical 
trellis, and two panels veneered with satinwood oval panel on king- 
wood ground with tulipwood band. Top veneered with kingwood, 
with rosewood band and kingwood edge. 


159—WRITING CABINET 


Scroll base and chamfered corners and a drop lid disclosing five 
drawers and three compartments for paper and envelopes. Below 
is a cupboard with two doors. The whole is veneered with various 
woods, and decorated with satinwood bands and holly lines. The 
top 1s white marble with dark veins. 


160—MAHOGANY HIGHBOY 


Georgian period. Plain cabriole legs. 


ORIENTAL RUGS 


165—ANTIQUE GHIORDES PRAYER RUG 


Centre panel in dark red, with a lambrequin design with pend- 
ants of conventional patterns in blue on white ground, surrounded 
by two narrow borders of sage green and a wide border of sap- 
phire blue in patterns of subdued colors. Fringed border, top and 
bottom. 

Length, 5 feet 6 inches; width, 4 feet 2 inches. 


166—ANTIQUE GHIORDES PRAYER RUG 


Centre panel in cream white, with a mosque window design and 
columns in blue, red, white and yellow, surrounded by a series of 
narrow borders and a wide body of yellow which are covered with 
conventional designs in harmonious colors. Fringed at top and 


bottom. 
Length, 5 feet 7 inches; width, 4 feet 5 inches. 


167—ANTIQUE KOULA RUG 


Sapphire-blue centre panel, with mosque window design and cen- 
tral pendant in golden brown, surrounded by a series of eleven, 
narrow borders, alternating in various shades of brown and white. 
Fringed at top and bottom. 

Length, 6 feet 2 inches; width, 4 feet 4 inches. 


168—TURKISH PRAYER RUG 


Olive-green centre panel, on which is a mosque window design 
in old red, surrounded by a series of narrow borders of red, 
yellow, blue and white, and a wide border of white, all of which 
are covered with conventional patterns in fine colors. 


Length, 6% feet; width, 4 feet. 


169—ANTIQUE GHIORDES PRAYER RUG 


Centre panel of mosque window design in blue and subdued col- 
‘ors on an old red ground. Surrounded by a series of yellow and 
white borders with conventional floral designs in low tones of blue, 


red and yellow. 
Length, 6 feet; width, 4 feet 4 inches. 


170—AGRA CARPET 


Fawn-color centre on a light brown panel and with light blue 
corners. Conventional designs in low tones of blue, red and black, 
surrounded by two narrow and one wide border of dark brown 
and red, with harmoniously designed patterns. The whole framed 
in an outer border of fawn color. Heavy, closely woven pile. 


Length, 10% feet; width, 9% feet. 


1V1—PERSIAN CARPET 


Turquoise-blue centre panel and corners on a white ground. Floral i 
and pendant patterns in shades of red, brown, pink and yellow. ; 
Surrounded by a series of borders of harmonious coloring. Closely : 
woven silky pile. | ; 

Length, 11 feet; width, 9 feet. 


VWi2—ANTIQUE PERSIAN LONG RUG 


Sapphire-blue centre, with an elaborate floral design in various 
colors, surrounded by a wide border of yellow and five narrow 
borders of sapphire and turquoise-blue and white, which are cov- 
ered with conventional patterns to harmonize with centre. 


Length, 13 feet 2 inches; width, 4 feet 10 inches. 


1783—AGRA CARPET 


Centre panel of fawn color, which is covered with an elaborate 
floral design in subdued tones of yellow, rose pink, red and tur- 
quoise-blue, and surrounded by a wide border of salmon red and 
three narrow borders of white and fawn. 


Length, 14 feet 5 inches; width, 10 feet 1 inch. 


174—GRAND AGRA CARPET 


Brilliant red centre, with a central medallion in dark green and 
fawn color and corners of dark blue, bordered with white, blue, 
yellow and red. The entire surface covered with an elaborate floral 
design in richly combined colors. Closely woven and thick pile. 


Length, 18 feet; width, 13 feet 2 inches. 


ETCHINGS 


BAUER, W. C. 


175—ON THE RIVER DART 


After the painting by Julian Rix. Signed remarque proof, on 
India paper. Signed by both painter and etcher. Gold frame. 


1L76—ON THE OISE 


After the painting by Daubigny. Remarque proof, on vellum. 
Gold frame. . | 


177—ON THE OISE 
- After the painting by Daubigny. Remarque proof, on vellum. 


BOUCHER, W. H. 


178—DARBY AND JOAN 


After the painting by W. Dendy Sadler. Lettered impression, on 
India paper. Gold frame. 


179—OLD AND CRUSHED 


After the painting by W. Dendy Sadler. Lettered impression, on 
India paper. Gold frame. 


180—OVER THE NUTS AND WINE 


After the painting by W. Dendy Sadler. Lettered impression. 
Gold frame. 


BRUNET-DEBAINES, A. 


“Few etchers of the modern French school have produced such uniformly 
good work.”—P. G. Hamerton. 


181—PARTING DAY 


After the painting by Benjamin W. Leader. Proof before letters, 
on India paper. Gold frame. 


181a—GLIMMERING LIGHT 


After the painting by Benjamin W. Leader. Signed artist’s 


proof, on Japanese paper. Signed by both painter and etcher. 
Gold frame. 


CHAMPOLLION, EUGENE ANDRE 


One of the ablest of the modern French school of reproductive 
etchers. 


182—THE CHOICE OF THE MODEL 


After the painting by Fortuny. Remarque proof, on Holland 
paper. 


CHAUVEL, THEOPHILE 


Chauvel’s great abilities have been devoted to the translation of a 
landscapes by Daubigny, Corot, Dupré and Rousseau, and in his 4 
chosen field he has distanced all rivals. iM 


188—SOLITUDE 


After the painting by Corot. Signed artist’s proof, on vellum. — a 
One hundred and fifty such proofs were printed. Mahogany and ~ i 
gold frame. 


184—VILLE D’AVRAY 


After the painting by Corot. Signed artist’s proof, on Japanese 
paper. 


185—UNE MARE—FORET DE FONTAINEBLEAU 


After the painting by Théodore Rousseau. Lettered impression. 
White frame. 


COLE, FOXCROFT 


186—RETURN OF THE FLOCK 


Proof on Japanese paper. White frame. 


COURTRY, CHARLES JEAN LOUIS 


Pupil of Gaucherel and Flameng. 


“Cest un graveur de tempérament, qui fait honneur a l’eau-forte.”—Henri 
Beraldi. 


187—LES AMATEURS DE GRAVURE 


After the painting by Meissonier. Signed remarque proof, on 
vellum. Gold frame. 


DAKE, CAREL L. 


Although an original etcher of the first rank, it is mainly as a 
translator of the paintings of the modern Dutch masters that he 
has won his fame and will be remembered. | 


188—CHILDREN OF THE SEA 


After the painting by Josef Israels. Signed remarque proof, on 
vellum. Signed by both painter and etcher. Gold frame. 


189—RETURN OF THE FLOCK 
After the painting by Anton Mauve. Remarque proof, on vellum. 


DICKSEE, HERBERT 


His masterly etchings of wild animals, from his own designs, have 
achieved a world-wide popularity. 


190—A WANDERER 
Signed artist’s proof, on vellum. Gold frame. 


DOBIE, JAMES 


One of the ablest of the English school of reproductive 
etchers. 
191—A DOUBTFUL BOTTLE 


After the painting by W. Dendy Sadler. Lettered impression. 
Gold frame. 


192—LONG, LONG AGO 


After the painting by W. Dendy Sadler. Remarque proof, on 
Japanese paper. Signed by both painter and etcher. 


GREUX, GUSTAVE 


Pupil of Gleyre. He has been a contributor of etchings to the 
Salon since 1868. 


1983—VILLAGE ON THE BANKS OF THE OISE 


After the painting by Daubigny. Remarque proof, on vellum. 
One hundred proofs only in this state. 


HUTH, F. 


194—_HOW THE GOSSIP GREW 


After the painting by F. D. Millet. Lettered impression. Gold 
frame. 


JACQUET, ACHILLE 


Pupil of Henriquel-Dupont, Pils and Laemlin. One of the great- 
est of modern etchers from pictures. His plates after Meissonicr 
and Detaille are marvels of technical skill. 


195—_THE SKIRMISHERS 


After the painting by Edouard Detaille. Signed remarque proof, 
on vellum. The remarque is an original etching by Detaille. Two 
hundred and fifty proofs only in this state. Gold frame. 


KEENE, CHARLES 


“The greatest English artist since Hogarth.”—Joseph Pennell. 


196—_STUDY OF AN OLD MAN, SEATED 
Proof on Japanese paper. White frame. 


KOEPPING, CHARLES 


A pupil of Waltner. 


“Tl a fait honneur au maitre, dont il s’est promptement assimilé les pro- 
cédés, au point d’étre aujourd’hui un de ceux qui en usent le plus brilla- 
ment.”—Henri Beraldi. 


197_THE MENNONITE PREACHER CORNELIS CLAESZ 
ANSLO AND A WIDOW 


After the painting by Rembrandt. Signed artist’s proof, on Jap- 
anese paper. Oak frame. One hundred and twenty-five proofs only. 


KRATKE, LOUIS 


Pupil of Géréme and Waltner. 
“A abandonné depuis 1883 la peinture pour lTeau-forte, mais est resté 


peintre en gravant: on ne peut mieux faire léloge de son talent.”—Henri 
Beraldi. 


198—UNE MARE—FORET DE FONTAINEBLEAU 


After the painting by Théodore Rousseau. Signed artist’s proof, 
on vellum. 


LAGUILLERMIE, FREDERIC AUGUSTE 


Born at Paris. A pupil of Léopold Flameng. Chevalier of the 
Legion of Honor in 1882. 


199—THE YOUNG DUKE 


After the painting by W. Q. Orchardson. Signed artist’s proof, 
on Japanese paper. Selected proof. Signed by both painter and 
etcher; and by F. Goulding, the printer. 


LOWENSTAM, LEOPOLD 


200—SUSPENSE 


After the painting by S. E. Waller. Open letter proof, on What- 
man paper. Gold frame. 


MARGELIDON, LUCIEN 


Pupil, in etching, of Le Rat. 


—201—LA HALTE 


After the painting by Meissonier. Signed artist’s proof, on Jap- 
anese paper. Gold frame. 


MATHEY, ARMAND 
Born at Besancon in 1854. A pupil of Waltner. 
202—MRS. ROBINSON AS “ PERDITA ” 


After the painting by Gainsborough. Signed remarque proof, on 
vellum. ‘The remarques are portraits of the painter and the etcher. 


PARK, JOHN 


 203—“ ROCKED IN THE CRADLE OF THE DEEP” 


After the painting by Hamilton Macallum. Lettered impression, 
on Whatman paper. Gold frame. 


PARRISH, STEPHEN 


Mr. Parrish is one of the most sincere and straightforward of living etchers.” 
—P. G. Hamerion. 


204—TEN-POUND ISLAND—GLOUCESTER HARBOR 
Signed artist’s proof, on Japanese paper. White frame. 


205—IN PORT—GLOUCESTER HARBOR AT LOW TIDE 
Signed artist’s proof, on Japanese paper. White frame. 


PHILLIPS, LAWRENCE B. 


206—ON THE LAGOON 
Signed artist’s proof, on Whatman paper. Gold frame. 


207—ON THE MAAS 
Signed artist’s proof, on Whatman paper. Gold frame. 


PICCINI, ANTONIO 


208—HEAD OF AN OLD MAN 
Proof on Japanese paper. Unsigned. White frame. 


“ Spirituelle eau-forte.”"—Henri Beraldi. 


PIQUET, R. 


209—A PASSING GLANCE 
Signed artist’s proof, on Japanese paper. Gold frame. 


ROBERTSON, H. R. 


210—* AVE, MARIA!” 


Signed remarque proof, on Japanese paper. Gold frame. 


SLOCOMBE, EDWARD 


211—MILTON’S COTTAGE: CHALFONT ST. GILES 


Signed artist’s proof, on Japanese paper. Gold frame. There 
were printed only 150 such proofs. 


SMYTHE, LIONEL 


212—STUDY OF A GIRL’S HEAD 
Signed artist’s proof. Wood frame. 


STEELE, LOUIS J. 


213—T00 GOOD TO BE TRUE 
Signed artist’s proof: marked No. 2. Gold frame. 


THOMAS, PERCY 


“A graceful draughtsman of ancient English buildings, and of the incidents 
of the River.”—Frederick Wedmore. 


214—HANWAY STREET 
Signed artist’s proof. White frame. 


WALTNER, CHARLES 


“T’un des grands graveurs francais. Et graveur absolument particulier, 
dont le nom, marquant une étape dans la marche de son art, signifie Pextréme 
limite de la liberté dans les procédés d’exécution—en réaction, a la fin du 
XIXe_ siécle, contre la perte de toute liberté, infligée depuis cent ans 4 la 
graveur par la formule d’école.”—Henri Beraldi, “Les Graveurs du XIXe 

Siécle,” Vol. XII. p. 254. : 3 


215—LES FEUX DE LA SAINT-JEAN 


After the painting by Jules Breton. Remarque proof, on vellum. 
Signed by both painter and etcher. One hundred and fifty proofs 
only in this state. Gold frame. 


216—REMBRANDT 


After his own portrait, in the National Gallery (London). Signed’ 
artist’s proof, on Japanese paper; 150 only in this state. Oak 
frame. This plate won for the etcher the Medal of Honor at the ‘ 
Salon in 1882. | \ 


“ Une des piéces les plus capitales de Pceuvre. De pareils morceaux, quoique ¥ 
estampes de reproductions, placent, par la fierté de Vexécution, Waltner 
parmi les graveurs originaux.”—Henri Beraldi, “Les Graveurs du XIXe 
Siecle,” Vol. XII., p. 266. 


217—THE GILDER: JAN DOMER 


From the painting by Rembrandt. Signed artist’s proof, on Jap- 
anese paper. There were printed 125 proofs only in this state. 
Gold frame. 


“ Autre piéce trés capitale.”-—Henri Beraldi. 


“Ces maitresses planches de Waltner n’ont pas peu contribué 4 ce qu’on 
pourrait appeler la transformation de l’étalage du marchand d’estampes.”— 
Henri Beraldi. 


WHISTLER, JAMES A. McNEILL 


“With the master-etchers of the world—Méryon’s equal in some respects, 
and, in some respects, Rembrandt’s—there stands James Whistler. Connois- 
seurs in France and England, in America, Holland, Bavaria, concede this 
now. ’—Frederick Wedmore, “Fine Prints,” p. 107. 


218—THE POOL 


Wepmore, No. 41. 


Fine impression. One of the ‘ Thames Series.” Oak frame. 


“In the Thames plates, it was Mr. Whistler’s aim to show the river as it 
was in 1859, and each one of them is a little portrait of a place, a perfect 
work of art. For the rendering, as Mr. Whistler has rendered them, of these 
old houses in which every brick and every tile has been studied, every window 
frame rightly drawn, every bit of color truly suggested, is as much portrait- 
ure, and as difficult to accomplish, as to give the portrait of the old lighter- 
man sitting in his barge. So difficult is it, indeed, that but two men in the 
whole history of the world have done such a thing.”—Joseph Pennell. 


WYLLIE, W. L. 


' His paintings and etchings of river scenes are, justly, held in 
high estimation by collectors. 


219-THE RIVER THAMES 
Signed artist’s proof, on Japanese paper. Gold frame. 


220—_TOWING UP THE WAAL 
Signed artist’s proof, on Whatman paper. Gold frame, 


221—_LOCH FYNE FISHING BOATS—EVENING 


Signed artist’s proof, on Japanese paper. White frame. 
An original dry-point, of which there were printed 60 proofs 
only. 


222—BAWLEY BOATS 


Signed artist’s proof. Special proof. Printed by Goulding and 4 
signed by him F’. Goulding. Gold frame. 

An original dry-point, of which there were printed 60 proofs 
only. 


223—TOWING UP THE WAAL 


Signed artist’s proof, on Whatman paper. Gold frame. 


foe ee 


LINE ENGRAVINGS 


COOKE, W. aAnp G. 


224—MULY-MOLOCH 


After the painting by B. Marshall. Open letter proof. Slightly 
foxed. Gilt frame. 


225—H AP-HAZARD 


After the painting by B. Marshall. Open letter proof. Slightly 
foxed. Gilt frame. 


“S GAILLARD, R. 


996-—MADAME MARIE LOUISE THERESE VICTOIRE DE 
FRANCE 


After the painting by Nattier. Lettered impression, colored. Gold 
frame. 


SKELTON, WILLIAM 


| 


Born in London in 1763. Pupil of James Basire and William 
Sharp. Among his most important works is the series of royal 


portraits, from the time of George ITI. to the accession of Queen 
Victoria. Died in 1848. 


227—HIS ROYAL HIGHNESS FREDERICK, DUKE OF YORK 
AND ALBANY 


After the painting by Sir William Beechey, R.A. Lettered im- 


pression. Gold frame. 


228—PRINCE ADOLPHUS FREDERICK, DUKE OF CAM- 
BRIDGE 


After the painting by Sir William Beechey, R.A. Lettered im- 
pression. Gold frame. 


STOCK, C. R. 


229-—-THE LEADING ROAD COACHES LEAVING THE © 


WHITE HORSE CELLARS AT XI A.M. 
After the painting by Harington Bird. In colors. Gold frame. 


F. HOLL 


230—-RAMSGATE SANDS 
After the painting by W. P. Frith, R.A. Gilt frame. 


MEZZOTINTS 


BRIDGEWATER, SCOTT 


231—_MRS. GROVE 


After the painting by Romney. Signed artist’s proof, on India 
paper. Three hundred proofs only. Gilt frame. 


COUSINS, SAMUEL 


Born at Exeter in 1801. Died in London, May 7, 1887. Pupil of 
— -§. W. Reynolds. 


“Un des meilleurs graveurs anglais de ce siécle.”—Henri Beraldi. 


232-LADY ANNE FITZPATRICK AS “SYLVIA” 


After the painting by Sir Joshua Reynolds. Lettered impression, 
on India paper. Oak and gilt frame. 


233—LADY CAROLINE MONTAGUE 


After the painting by Sir Joshua Reynolds. Lettered impression, 
on India paper. Oak and gilt frame. 


234—_MISS BOWLES 


After the painting by Sir Joshua Reynolds. Lettered impression, 
on India paper. Colored. Gold frame. 


235—THE AGE OF INNOCENCE 


After the painting by Sir Joshua Reynolds. Lettered impression, 
on India paper. Colored. Gold frame. 


236—THOMAS CAMPBELL 


After the painting by Sir Thomas Lawrence. Lettered impression. 
Gilt frame. 


DAWE, P. 


2937—GIRL SEATED, WITH A DOVE 
After the painting by George Morland. Gold frame. 


FABER, JOHN, JUNIOR 


“ His works are specially important, as so extensively illustrating the portrait 
art of England, between the time of Kneller and that of Reynolds, about 
which comparatively nothing is known at the present day.”—Chaloner Smith. 


238—WILLIAM, DUKE OF CUMBERLAND 


CHALONER SmurruH, No. 100. 


Engraved by Faber from his own design. Colored. Has been re- 
margined. Gold frame. 


MEYER, J. 


239—LORD VYVIAN 


After the painting by Sir Martin Archer Shea. Framed so as to 
cover margins. Gold frame. 


PRATT, JOSEPH B. 


240—THE MISSES CARTERET-HARDY 


After the painting by Sir Thomas Lawrence. Signed artist’s 
proof, on India paper. Gold frame. 


SCHULTE, MISS B. 


241—THE RECKONING 


a After the painting by George Morland. Signed artist’s proof. 
Printed in colors. Marked No. 8. Gold frame. 


SMITH, JOHN 


Born in 1654. Died about 1720. 


“Even in his own time the merits of this engraver were highly appreciated, 
and subsequent writers, as Walpole, have considered him one of the great 


improvers of the art. He certainly excelled in brilliancy of effect, and was 
powerful, clear and correct in drawing.’—Chaloner Smith. 


242—PRINCE JAMES STUART 
After the painting by Kneller. 


The birth of this prince, received with such joy by James IL., 
was probably the immediate cause of his downfall, the great 
majority of the people dreading a succession of kings favorable 
to the Romish religion. 


WARD, WILLIAM 


“Redgrave truthfully estimates William Ward’s engravings when he 
describes them as ‘artistic, full of spirit and truth, excellent in feeling of 


color, the flesh tints tender without weakness, the light and shade powerful.’ ” 


—Alfred Whitman, “The Masters of Mezzotint.” 


243—CHILDREN READING THE INSCRIPTION ON THEIR 
MOTHER’S GRAVESTONE 


After the painting by R. M. Pine. Open letter proof. Gilt frame. 


244—CHILDREN THROWING SNOWBALLS 


After the painting by R. M. Pine. Open letter proof. Has been 


repaired in upper left corner. Gilt frame. 


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ZOBEL, GEORGE J. 


Pe about 1810. Died in 1881. 


245—“ PICKABACK”? (MRS. PAYNE GALWEY AND HER 
SON) 


After the painting by Sir Joshua Reynolds. Lettered impression, 
on India paper. Colored. Gold frame. 


Philadelphia de Lancy, daughter of Oliver de Lancey of New 
‘York, married Stephen Payne, and died in 1785, aged 277, leav- 
ing two children, a son and a daughter. Her son Charles is the 
boy represented in the print. 


STIPPLE ENGRAVINGS 


BURKE, THOMAS 


Born in Dublin in 1749. A pupil of Dixon, and engraved chiefly 
after the works of contemporary artists—Cipriani, Angelica 
Kauffmann, Dance and Singleton. Died in London in 1815. 


246—THE VICAR OF THE PARISH RECEIVING HIS TITHES 


After the painting by H. Singleton. Good, original impression. — 


Gold frame. 


247—THE CURATE OF THE PARISH RETURNED FROM 
DUTY 


After the painting by H. Singleton. Good, original impression. 
Gold frame. 


COCHRAN, J. 


248—MADAME VEST RIS 
Proof on India paper. Gold frame. 


DURMER, F. V. 
249—A GIRL OF THE BLACK FOREST 


After Oelenheinz. Stamped proof. Colored. Gold frame. 


250—A SWISS GIRL 
After Oelenheinz. Stamped proof. Colored. Gold frame. 


EARLOM, RICHARD 
Born in 1743. Died in 1822. He executed few works in stipple, 


but they are of a quality which entitles him to rank as one of the 
greatest engravers in the stipple manner. 


251—GIRL WITH A DOVE 
After G. B. Cipriani. Printed in colors. Gold frame. 


= PICART, C. 


Born in 1780. Died in 1837. 


252—MISS FANNY KEMBLE 


After Sir Thomas Lawrence. Lettered impression. Gilt frame. 


PHOTOGRAVURES AND 
PHOTOGRAPHS 


253—A YEARLING SALE AT NEWMARKET 


After the painting by Isaac Cullin. Signed artist’s act on In- 
dia paper. Gold frame. 


254-LE GOUTER DES FANEURS 


After the painting by Julien Dupré. Lettered impression. ate ‘ 4 
frame. eh 


255—LA RECOLTE DES FOINS | 
After the painting by Julien Dupré. Lettered impression. Gold) 
‘ 


frame. 


256—“ IF MUSIC BE THE FOOD OF LOVE” 


After the painting by Maude Goodman. Signed artist’s proof. 
Gold frame. 


257—_CHARLES 1., KING OF ENGLAND 


After the painting by Van Dyck. Braun carbon photograph. 
Gold frame. 


258—HENRIETT A MARIA, QUEEN OF ENGLAND 


After the painting by Van Dyck. Braun carbon photograph. 
Gold frame. 


259-—-MAN WITH A FUR CAP 


After the painting by Rembrandt. Braun carbon photograph. 
Gold frame. 


260—TEMPLE OF JUPITER 
Braun carbon photograph. Gold frame. 


261—THE ACROPOLIS, CORINTH 
Braun carbon photograph. Gold frame. 


(262—WAX HEAD IN THE MUSEE DE LILLE 
Attributed to Raphael. Braun carbon photograph. Gold frame. 


263—DIANA AND A NYMPH 
Braun carbon photograph. Gold frame. 


264—L’AGE D'OR 
Braun photograph. After the painting by Chaplin. Gold frame. 


265—AVANT LE BAL 
Braun photograph. After the painting by Chaplin. Gold frame. 


266—APRES LE BAL 
Braun photograph. After the painting by Chaplin. Gold frame. 


267—_ROWLANDSON AND HIS FAIR SITTERS IN 1782 
After the water-color by Rowlandson. Gold frame. 


WATER COLORS 


ALBERT 


268—OFF THE COAST OF HOLLAND 


G. BAGROLI 


269—THE LOCKET 


FRANK M. BOGGS 


270—A MEDITERRANEAN PORT 
Q71—AT ANCHOR 


Q272—-THE ENVIRONS OF MARSEILLES 


BORTOLOZZI 


Q33—PALAZZO FOSCARI 


ARTHUR DAWSON 


274 SUNSET GLOW 


F. S. MEDAIRY 


275—A WATER MEADOW 


M. PAGIANI 


276—GRAND CANAL AND GARDENS, VENICE 


PRAVIATI 


27(—_THE PROMENADE 


T. M. ROBERTI 


278—THE CONNOISSEURS 


279—-MAN WITH A WHIP 


B. L. ROYS 


280—TWIN LAKES, CONNECTICUT 


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